I LOVE the look of them. Now to try imitate this with photoshop, cause even though i would pay $60 for one, the trip to San Francisco from Sweden will probably cost a little more.
(I just ran off to find this video after watching Adam get his done) This is so fascinating to me! I have only worked with film in a high school photography course, but I loved it. There is just something so real about using film that I bet is even more so with tintypes. I hope to get the opportunity to try this someday! Unfortunately, being a broke 17 year old I doubt that'll be any time soon, though.Anyway, great video! Tested never fails to amaze me.
wow 60$. I was thinking like 500$ and thought that would be a deal. In fact, i'd like it way more if it was 500$, at least you would do just one photo, no matter if you didnt like it
I'd love to get one done sometime...been looking at some of the methods used in early photography and it amazes me! I can't imagine the sheer awe people felt back then when it was introduced.
Can you tell the cameraman to stop crash-zooming and hold the camera more steady. That MTV style moving cam is so distracting. Just show us the things of a quiet subject calmly and don't try to make it more interesting by overly moving
There is also a fully functional tintype studio in nyc. Its called the Penumbra foundation and they can shoot 4x5s up to an 11x14 I believe. Its really cool I would recommend everyone to check it out
"like a fine grained black and white negative" - wet plate is photolytic silver, the grain size is much smaller than filamentary silver in black and white film emulsions.
Although this was uploaded in 2012, he was then as now not anywhere near the only studio that does this. There are around a thousand serious wet plate photographers today. It is becoming my premier service in my photography business. It is the most rewarding process I have learned. I started in film in the 70s and moved to digital in the 21st century. As time passed I took and interest in wet plate and am now a collodion junkie.
There are several tintype photography studios in the USA now. Here's the process: Tintype photography is a unique and historical process that creates images on a thin sheet of iron coated with a dark enamel or paint. Here’s a step-by-step guide on the chemicals needed, mixing ratios, and the process involved in tintype photography, including when to use the developer and fixer. ### Chemicals Needed 1. **Collodion**: - **Materials**: - Nitrocellulose (cotton nitrocellulose) - Ether - Alcohol - **Ratio**: Generally, use about 8-10% nitrocellulose in a mixture of ether and alcohol (typically a 1:1 ratio). 2. **Silver Nitrate Solution**: - **Materials**: Silver nitrate (AgNO₃) and distilled water. - **Ratio**: Prepare a 10-20% solution (e.g., 10 grams of silver nitrate in 100 mL of distilled water). 3. **Developer**: - **Materials**: Common developers include a mixture of: - Pyrogallol or Metol - Distilled water - Sodium sulfite - **Typical Recipe**: - 2g Pyrogallol - 1000 mL distilled water - 10g Sodium sulfite - Use fresh, as the developer loses potency quickly. 4. **Fixer**: - **Materials**: Sodium thiosulfate (hypo) and distilled water. - **Ratio**: Standard fixer solutions are typically 1:4, with 1 part sodium thiosulfate to 4 parts water (e.g., 100 g of sodium thiosulfate in 400 mL of water). 5. **Distilled Water**: For rinsing and diluting. ### Equipment Needed - Tintype plates (iron plates coated with a dark enamel) - A light-tight container for mixing and storing chemicals - A camera capable of using large format film - A darkroom or tent for developing the plates - Graduated cylinders or beakers for measuring - Thermometer (for ensuring proper temperatures) - Trays for developing and fixing ### Process of Tintype Photography 1. **Prepare the Collodion**: - Mix the nitrocellulose with ether and alcohol to create the collodion. - Allow the mixture to settle and clarify. 2. **Prepare the Silver Nitrate Solution**: - Dissolve silver nitrate in distilled water to make the solution. 3. **Coat the Plate**: - In a darkroom, pour collodion onto the tintype plate to create a thin, even layer. - Hold the plate at a slight angle to allow the collodion to flow and coat the entire surface. - Allow the excess collodion to drain back into the container. 4. **Sensitize the Plate**: - Immerse the coated plate in the silver nitrate solution for about 2-5 minutes. - This step makes the plate light-sensitive. 5. **Expose the Plate**: - Load the sensitized plate into the camera (must be done in a darkroom or under red safelight conditions). - Take the photograph; exposure times can range from 1/4 second to several seconds, depending on lighting. 6. **Develop the Image**: - After exposure, immediately return the plate to the darkroom. - Pour the developer onto the plate, ensuring it covers the entire surface. - Development typically takes 30 seconds to 2 minutes. Watch for the image to appear. - Gently agitate or rock the tray to ensure even development. 7. **Stop the Development**: - Rinse the plate in distilled water to stop the development process. 8. **Fix the Image**: - Immerse the developed plate in the fixer solution. This removes any unexposed silver, making the image permanent. - Fixing usually takes about 2-5 minutes, after which the image should look clear. 9. **Wash the Plate**: - Rinse the plate thoroughly in distilled water to remove any remaining fixer. 10. **Dry the Plate**: - Let the plate air dry or use a soft cloth to gently remove excess water. 11. **Finish the Tintype**: - Once dry, you can varnish the plate to protect the image, although this is optional. ### Important Notes - **Safety Precautions**: Use gloves and goggles when handling chemicals, especially silver nitrate, which can stain skin and clothing. - **Darkroom Conditions**: Tintype photography requires a darkroom for coating, sensitizing, developing, and fixing the plates. Light-sensitive materials are very sensitive to ambient light. - **Timing**: All steps need to be performed quickly to ensure the best quality image, particularly the developing and fixing processes. By following these steps and using the appropriate chemicals in the specified ratios, you can successfully create tintype photographs, embracing this historical photographic process.
Your assuming that the chemical emulsion is not diluted with alcohol, water or ether (depending on the process). In order for the chemicals to be evenly spread across the tin it has to be suspended in a liquid which dramatically increases the space between the photosensitive molecules reducing the resolution".
I know there use to be a paper ferrotype of photography used at county or city Fairs. This process used a sensitized paper film that was shot in a camera. As the camera operator advanced the film forward, the exposed film was dropped into a developing tank below the camera. In about 5 minutes the exposed paper was removed from the tank, exposed to sunlight, then this same exposed paper was put into another developing tank for about 3 minutes, then to a stop bath, then to a hypo tank. The paper has undergone a reversal process from negative to positive and dried on a heated platen type of dryer. I am curious exactly how the chemistry worked on the sensitized paper film, and the chemistry to develop the negative, then exposure, then bleach, then positive development, then stop bath, then hypo bath and finally drying process. This process was done before the development of Polaroid processes in the 1950's and as later after Polaroid film process was developed.
ok so where is adams tintype thought you were going to put it up in the video along with yours. and this is super cool... wish there were more places like this around
Just so people know, the term he uses after 6:18 is wet plate collodion. It took me a while figure out the spelling, so I wanted to make it easier for others.
Ultra modern studio with the latest lighting system and using old fashioned tin plate. It's like using a steam engine as a power source for a mobile phone. Or using ultra modern tools to make a 17th century style cabinet, i prefer to keep everything authentic
The size of the metal image plate is only limited by the "box" you put the plate into. Do a search on UA-cam for Ian Ruhter. His wet plate images are pretty big. He uses a cube truck as a camera.
It's a shame they can't be drum scanned. I have an 8000dpi drum scanner and my b&w 4x5 negatives are the equivalent of 1gigapixel. Obviously, resolution isn't everything but it does help to resolve the fantastically smooth tonal transitions you get from 4x5. The tonal transitions and sharpness of wet plate is even better than negative in some ways.
this vid made me to find tested! in an effort to make not a collodion photography print but a true daguerreotype one now I'm almost there but, not yet the mirror ghost image illudes me ''one way it is negative another angle it is positive'' but it is a mirror as well!
What I'd love to know is how he got enough light out of one flash to expose that plate? If collodion is somewhere less than iso 1, then an exposure in direct sunlight is going to take a good few seconds, so how do you squeeze let's say 5 seconds of f22 daylight into one huge blast from a strobe without giving your subjects arc eyes? Also, his lens appears to be an f5.6 portrait lens, so, even wide open, that's not all that fast either. I am wondering if maybe there's a lot more UV light coming out of a xenon tube than sunlight or something, as I've heard that collodion reacts strongly with light so far off the blue-end of the spectrum that it can't be seen by the eye, but I am just guessing here.
I expose 4x5 tintype portraits correctly @ ƒ4.7 using one 600 watt second strobe (at full power) and a beauty dish about 2 feet from my subject. My collodion, by my estimates and testing, is closer to ISO 3.
That's very interesting, as folks keep telling me that it's somewhere less than ISO 1 (0.75 seems a popular figure to quote), can I ask what recipe you're using for your collodion? It's just that I went on the Collodion forum and the general consensus on there seemed to be that you needed big generator pack strobes and people were talking about 9600 w/s and the such like, but they were still quoting exposure times in seconds, then I stumbled over Giles Clement's work and he's actually getting exposures fast enough to stop action like regular film, yet he seems to be using smaller monoblock strobes. So I think the secret has to be in the collodion recipe? I am just about to test a 10x8 camera out for the first time and I've bought some "New Guy" collodion, so please tell me that's the one you're using :-)
That's a different combination of salts to anything I've come across. I've seen both those salts used in recipes, but not together. The one I've got here that I was about to try out is quite similar, being made up of ether, alcohol, cadmium bromide and ammonium Iodide. Maybe I'll get bold after all, dig out an old 1000 w/s strobe or two and give it a go :-)
I’m so interested in tin types but i don’t have a giant budget to make a proper wooden camera, if any one has a great way to do it for cheap please let me know
Modifying a plate holder like he did would allow you to use a standard graflex 4x5 or other camera. Personally I use a pack film holder, which has a back that can be opened, and even has the pressure plates installed
+legofanguyvid No, it's not rigid enough. However, an easier alternative is to use ordinary glass and coat one side with photographic emulsion. The image will initially come out as a negative, but if you then paint the developed and dried plate black, it will appear as a positive.
This photographer is great. Clearly explained everything...great artist
"Can you shoot outdoors"
The photographer is trying so hard to not say "Its a pain in the ass but yeah you can" lol
I LOVE the look of them. Now to try imitate this with photoshop, cause even though i would pay $60 for one, the trip to San Francisco from Sweden will probably cost a little more.
It would be impossible to get an okay look in Photoshop, I am sure. (Although, Photoshop costs like £600.)
(I just ran off to find this video after watching Adam get his done) This is so fascinating to me! I have only worked with film in a high school photography course, but I loved it. There is just something so real about using film that I bet is even more so with tintypes. I hope to get the opportunity to try this someday! Unfortunately, being a broke 17 year old I doubt that'll be any time soon, though.Anyway, great video! Tested never fails to amaze me.
This was posted five years ago. Do you now have experience working with tintypes my friend?
I love and collect tintypes. This type of studio should be more readily available!
The details on these photos are amazing...
Thank you so much for this video! Taking modern photographs with historically accurate processes is so fascinating!
Victorian Photography Studio in gettysburg PA allows anyone to come in to the shop and get a tintype or ambrotype done as well.
Is crazy how he can answer all the crazy scientific aspect of the process he's doing. Thays real mastery of the craft.
wow 60$. I was thinking like 500$ and thought that would be a deal. In fact, i'd like it way more if it was 500$, at least you would do just one photo, no matter if you didnt like it
Your right! I've just got interested in this type of photography. Amazing hey!
That's a steal!! I'm so doing this!
I would love a tin type of myself and a few of my Marines in our dress blue uniform and civilian beards
I'd love to get one done sometime...been looking at some of the methods used in early photography and it amazes me! I can't imagine the sheer awe people felt back then when it was introduced.
its crazy that all the old photographers back in the late 19th century were all chemists as well. this is really just all chemistry
This was the most thorough explanation I ever heard in a video, thanks!
Victorian Photography Studio in Gettysburg Pa does Tintype
Can you tell the cameraman to stop crash-zooming and hold the camera more steady.
That MTV style moving cam is so distracting. Just show us the things of a quiet subject calmly and don't try to make it more interesting by overly moving
Maybe we can all get together and buy him a tripod for christmas.
Haha Mtv style, that's perfect
Rigth, I got nauseous after watching 4 minutes
handheld not tripod most likely
I used to have a darkroom and loved developing my own pics. This appeals to me greatly as it's very hands on and produces a beautiful end result.
Great video! As a photographer myself, I have always wanted to experiment with this archaic process. It looks like a lot of fun.
If you look closely at 5:02, you can see he's using a 210 mm 1:5,6 lens. Pretty much a standard portraitlens for a 4x5 camera.
that's really cool how you see the photo change to black and white
There is also a fully functional tintype studio in nyc. Its called the Penumbra foundation and they can shoot 4x5s up to an 11x14 I believe. Its really cool I would recommend everyone to check it out
"like a fine grained black and white negative" - wet plate is photolytic silver, the grain size is much smaller than filamentary silver in black and white film emulsions.
Nice that you are using the Scully & Osterman sheet film conversion! 😄
Wow it's beautiful. I'm so glad your doing this photography.
Although this was uploaded in 2012, he was then as now not anywhere near the only studio that does this. There are around a thousand serious wet plate photographers today. It is becoming my premier service in my photography business.
It is the most rewarding process I have learned.
I started in film in the 70s and moved to digital in the 21st century. As time passed I took and interest in wet plate and am now a collodion junkie.
Wow I've never heard of tintype till now but I am very amazed at that quality :O
That man really knows his stuff.
There are several tintype photography studios in the USA now. Here's the process:
Tintype photography is a unique and historical process that creates images on a thin sheet of iron coated with a dark enamel or paint. Here’s a step-by-step guide on the chemicals needed, mixing ratios, and the process involved in tintype photography, including when to use the developer and fixer.
### Chemicals Needed
1. **Collodion**:
- **Materials**:
- Nitrocellulose (cotton nitrocellulose)
- Ether
- Alcohol
- **Ratio**: Generally, use about 8-10% nitrocellulose in a mixture of ether and alcohol (typically a 1:1 ratio).
2. **Silver Nitrate Solution**:
- **Materials**: Silver nitrate (AgNO₃) and distilled water.
- **Ratio**: Prepare a 10-20% solution (e.g., 10 grams of silver nitrate in 100 mL of distilled water).
3. **Developer**:
- **Materials**: Common developers include a mixture of:
- Pyrogallol or Metol
- Distilled water
- Sodium sulfite
- **Typical Recipe**:
- 2g Pyrogallol
- 1000 mL distilled water
- 10g Sodium sulfite
- Use fresh, as the developer loses potency quickly.
4. **Fixer**:
- **Materials**: Sodium thiosulfate (hypo) and distilled water.
- **Ratio**: Standard fixer solutions are typically 1:4, with 1 part sodium thiosulfate to 4 parts water (e.g., 100 g of sodium thiosulfate in 400 mL of water).
5. **Distilled Water**: For rinsing and diluting.
### Equipment Needed
- Tintype plates (iron plates coated with a dark enamel)
- A light-tight container for mixing and storing chemicals
- A camera capable of using large format film
- A darkroom or tent for developing the plates
- Graduated cylinders or beakers for measuring
- Thermometer (for ensuring proper temperatures)
- Trays for developing and fixing
### Process of Tintype Photography
1. **Prepare the Collodion**:
- Mix the nitrocellulose with ether and alcohol to create the collodion.
- Allow the mixture to settle and clarify.
2. **Prepare the Silver Nitrate Solution**:
- Dissolve silver nitrate in distilled water to make the solution.
3. **Coat the Plate**:
- In a darkroom, pour collodion onto the tintype plate to create a thin, even layer.
- Hold the plate at a slight angle to allow the collodion to flow and coat the entire surface.
- Allow the excess collodion to drain back into the container.
4. **Sensitize the Plate**:
- Immerse the coated plate in the silver nitrate solution for about 2-5 minutes.
- This step makes the plate light-sensitive.
5. **Expose the Plate**:
- Load the sensitized plate into the camera (must be done in a darkroom or under red safelight conditions).
- Take the photograph; exposure times can range from 1/4 second to several seconds, depending on lighting.
6. **Develop the Image**:
- After exposure, immediately return the plate to the darkroom.
- Pour the developer onto the plate, ensuring it covers the entire surface.
- Development typically takes 30 seconds to 2 minutes. Watch for the image to appear.
- Gently agitate or rock the tray to ensure even development.
7. **Stop the Development**:
- Rinse the plate in distilled water to stop the development process.
8. **Fix the Image**:
- Immerse the developed plate in the fixer solution. This removes any unexposed silver, making the image permanent.
- Fixing usually takes about 2-5 minutes, after which the image should look clear.
9. **Wash the Plate**:
- Rinse the plate thoroughly in distilled water to remove any remaining fixer.
10. **Dry the Plate**:
- Let the plate air dry or use a soft cloth to gently remove excess water.
11. **Finish the Tintype**:
- Once dry, you can varnish the plate to protect the image, although this is optional.
### Important Notes
- **Safety Precautions**: Use gloves and goggles when handling chemicals, especially silver nitrate, which can stain skin and clothing.
- **Darkroom Conditions**: Tintype photography requires a darkroom for coating, sensitizing, developing, and fixing the plates. Light-sensitive materials are very sensitive to ambient light.
- **Timing**: All steps need to be performed quickly to ensure the best quality image, particularly the developing and fixing processes.
By following these steps and using the appropriate chemicals in the specified ratios, you can successfully create tintype photographs, embracing this historical photographic process.
I just love this type of photography! Will last u a lifetime. All my children photos are fading out now which is sad.
I just love it - What a process and beautiful prints
He looked a little miffed that you didn't want to pay for your tintype. You guys owe him 120 bucks. Did you ever go back and get them?
hrmm, looks like his studio closed down. guess you could always find the guy personally.
man norman those rock and are so so detailed. if i get out to cali i will have to do that but unfortunately i'm stuck in DFW texas
only $60! Well worth it
I like the fact that he has a ring light connected to his SINAR F series camera.
This is absolutely wonderful!
this is an awesome way to make photos. one of a kind. sometimes you have to roll back time to make an awesome photo. Great Job guy.
There's a studio in Brussels that does aluminium collodion prints of up to 40cm x 50cm. It costs 1500 euros, but you can get that done.
very striking final image/product
would love to get this done
Enjoyed the video I am plying with film photography and my Internet research brought me to your video and I enjoyed it
Love these videos from you guys
Your assuming that the chemical emulsion is not diluted with alcohol, water or ether (depending on the process). In order for the chemicals to be evenly spread across the tin it has to be suspended in a liquid which dramatically increases the space between the photosensitive molecules reducing the
resolution".
want to do this
I know there use to be a paper ferrotype of photography used at county or city Fairs. This process used a sensitized paper film that was shot in a camera. As the camera operator advanced the film forward, the exposed film was dropped into a developing tank below the camera. In about 5 minutes the exposed paper was removed from the tank, exposed to sunlight, then this same exposed paper was put into another developing tank for about 3 minutes, then to a stop bath, then to a hypo tank. The paper has undergone a reversal process from negative to positive and dried on a heated platen type of dryer. I am curious exactly how the chemistry worked on the sensitized paper film, and the chemistry to develop the negative, then exposure, then bleach, then positive development, then stop bath, then hypo bath and finally drying process. This process was done before the development of Polaroid processes in the 1950's and as later after Polaroid film process was developed.
If you ever find out let me know.
ok so where is adams tintype thought you were going to put it up in the video along with yours. and this is super cool... wish there were more places like this around
Totally worth it, Michael Shindler's a legend :D
#Schindler'sListIsReal :D
This is awesome. I want to get a tintype portrait... too bad I live all the way on the other coast.
Just so people know, the term he uses after 6:18 is wet plate collodion. It took me a while figure out the spelling, so I wanted to make it easier for others.
so awesome. and comprehensive!!
Fascinating.
cool...love this 'type' of photography
Ultra modern studio with the latest lighting system and using old fashioned tin plate.
It's like using a steam engine as a power source for a mobile phone.
Or using ultra modern tools to make a 17th century style cabinet, i prefer to keep everything authentic
So cool. Great video!
The size of the metal image plate is only limited by the "box" you put the plate into. Do a search on UA-cam for Ian Ruhter. His wet plate images are pretty big. He uses a cube truck as a camera.
Love the show!
It's a shame they can't be drum scanned. I have an 8000dpi drum scanner and my b&w 4x5 negatives are the equivalent of 1gigapixel. Obviously, resolution isn't everything but it does help to resolve the fantastically smooth tonal transitions you get from 4x5. The tonal transitions and sharpness of wet plate is even better than negative in some ways.
amazing looking, really cool process. digital is almost too easy
Very nice indeed
Will looks like the Tax Master in his portrait.
Nicely done
this is so cool! if i'm ever in the area i'm for sure gonna go!
looks like it closed down.
***** thats what i get judging by their website and stuff.
+theZombieBunnie He has another stidio, ironically next to M5.
Instant grizzly prospector looks!
How about Anton Orlov in San Diego?
Maybe only in San Fran. We have a couple places here in Upstate New York. :)
thanks!!
this is awesome
wow .75 iso , no wonder it needs extended exposure, curious if the size of the camera effects the time of the shot. ie larger aperture.
I would totally pay $60 for one.
I thought chemicals were outlawed in California.
They're fine only if you inject them into your face.
@@jimmyeng663 hahah made my day
Water definitely is
Wow this is way cool... now I ned to construct a dark room... haha
Did he forget/skip the Varnish stage? Or did he not need that?
Amazing video though!! : D
Really really cool. I'm not that much into photography, but nevertheless i enjoyed watching this ;)
this vid made me to find tested! in an effort to make not a collodion photography print but a true daguerreotype one now I'm almost there but, not yet the mirror ghost image illudes me ''one way it is negative another angle it is positive'' but it is a mirror as well!
8:23 Davy Jones in the mirror lol
Not the it ones, go to Gettysburg! That's how they do it there and it is $20.
amazing Video. is anyone here that would tell me what cheap lens should I buy for my wet plate camera ?
Anyone have an idea of what size lens he's using?
BRILLIANT!!!!!!!!!! :-)
@ about 12,39 does he say "potassium cyanide" and mean "potassium ferricyanide"?
Excellent informative and easy to watch video...
Nope, he really meant potassium cyanide, KCN. Nobody uses it these days, as it is, of course, super dangerous compared to sodium thiosulfate
What I'd love to know is how he got enough light out of one flash to expose that plate? If collodion is somewhere less than iso 1, then an exposure in direct sunlight is going to take a good few seconds, so how do you squeeze let's say 5 seconds of f22 daylight into one huge blast from a strobe without giving your subjects arc eyes? Also, his lens appears to be an f5.6 portrait lens, so, even wide open, that's not all that fast either. I am wondering if maybe there's a lot more UV light coming out of a xenon tube than sunlight or something, as I've heard that collodion reacts strongly with light so far off the blue-end of the spectrum that it can't be seen by the eye, but I am just guessing here.
I expose 4x5 tintype portraits correctly @ ƒ4.7 using one 600 watt second strobe (at full power) and a beauty dish about 2 feet from my subject. My collodion, by my estimates and testing, is closer to ISO 3.
That's very interesting, as folks keep telling me that it's somewhere less than ISO 1 (0.75 seems a popular figure to quote), can I ask what recipe you're using for your collodion? It's just that I went on the Collodion forum and the general consensus on there seemed to be that you needed big generator pack strobes and people were talking about 9600 w/s and the such like, but they were still quoting exposure times in seconds, then I stumbled over Giles Clement's work and he's actually getting exposures fast enough to stop action like regular film, yet he seems to be using smaller monoblock strobes. So I think the secret has to be in the collodion recipe? I am just about to test a 10x8 camera out for the first time and I've bought some "New Guy" collodion, so please tell me that's the one you're using :-)
Jason Killbourn
My recipe uses alcohol / ether, along with cadmium bromide and potassium iodide.
That's a different combination of salts to anything I've come across. I've seen both those salts used in recipes, but not together. The one I've got here that I was about to try out is quite similar, being made up of ether, alcohol, cadmium bromide and ammonium Iodide. Maybe I'll get bold after all, dig out an old 1000 w/s strobe or two and give it a go :-)
Also I spy a new Will Meme face @ 10:46
are you guys going tho E3 ??
I love how it makes it look like everyone is old and that they've worked in a coal mine all their life. lol
I’m so interested in tin types but i don’t have a giant budget to make a proper wooden camera, if any one has a great way to do it for cheap please let me know
Modifying a plate holder like he did would allow you to use a standard graflex 4x5 or other camera. Personally I use a pack film holder, which has a back that can be opened, and even has the pressure plates installed
Calm down and turn off the music! Apart from that, great stuff!
Haha, exactly!
@楊宗緯
please camara man control your camera...
Wow...the guy in the glasses has a TON of makeup on. Damn!
here are all the tintypes, including adam's: imgur[dot com]/a/uARJc
it should be called tintography
could a person do this with tin foil?
+legofanguyvid No, it's not rigid enough. However, an easier alternative is to use ordinary glass and coat one side with photographic emulsion. The image will initially come out as a negative, but if you then paint the developed and dried plate black, it will appear as a positive.
Dooe
Wow thats impressive..
It should be called Hipsterbooth. BTW I would LOVE to have my portrait taken there, I would dress like it was 1899
$60 for a 1/4 plate? Geeeez, come to my studio and I'll make you one for$25, $20 for ea additional, but there is a $40 set up fee.