Tintype Portfolio 2017 - 2019
First Portrait, 20 sec. exposure • 2017
First Tintype • 2017
Wet Plate Beginnings
MISTAKES WERE MADE • 2017
Wet Plate as a medium is a relatively simple process but the quality of the image is highly dependent on countless techniques and workflows. It is surprisingly difficult to capture a flawless image. Each attempt to make a portrait is a performance. The final image will show every detail of that performance — flaws and all. Each plate tells a story, and each one is an opportunity to improve.
Composition Study • 2017
The Wet Plate Tintype is the first historic photographic process that was commercial available to the masses across the globe. This technique transformed societies similar to the smartphone revolution. Having your portrait made went from a high class luxury privilege to an accessible curiosity available to the masses. It was the perfect medium to capture strikingly different portraits in a timeless way.
MONUMENT VALLEY Dust storm • 2018
YOSEMITE Wildfire • 2018
Making a wet plate photograph requires a lot of specialized equipment, chemistry, and ideal temperature conditions. It also requires that you have a darkroom on site when shooting. I seem to have an incredible ability to bring epic weather events when I travel with my equipment.
HIGH-KEY & Low-key STUDies • 2017-2019
Wet Plate Tintypes have a beautiful look about them, made from photosensitive silver on a black metal plate, they capture the near visible world of ultraviolet light. This ”instant” print making process renders a large positive image in 20 minutes time. It is an exceptional process for portraits if you’re willing to work with the many difficult constraints.
Concentration • 2019
In my journey to master the medium, I had to become comfortable in a variety of environments. In the studio, I have quite a bit of control with the lighting and chemistry. And on the road, I have to improvise a small dark box to work inside, and use whatever lighting is available. This shot was taken on the road. I took advantage of tilt-shift — a feature of large format cameras — to focus on the pool balls as well as the player’s face.
Students • 2018-2019
When the lighting strikes just right in an abandoned storage closet, what do you do? Spend the afternoon making portraits of some of your students. 4 sec. exposure times require some creative poses.
Strobe, Continuous, & Outside Light study • 2018
Throughout the years one thing remained constant. Wet plate requires a TON of light. The sun makes for a great light source… when the weather is good… during the daytime. I scrounged the used camera store for anything that put out as much light as possible. With intense UV continuous lights I could make portraits with a 1-2 second shutter speed. I was eventually able to find strobes that are powerful enough to make a near instantaneous shutter speed. Learning how to shape that lighting is one of the most difficult and ever evolving parts of my process.
Eye Contact • 2019
Eyes will tell a story if you know where to look. I’m always trying to find that through the lens of my extremely large camera. Lighting, camera position, composition, pose, emotion, and eye contact all blend together to tell a story if you know where to look.
Tintype Portfolio 2020
The Pandemic Lockdown Era
In a world where toilet paper shortages nearly brought society to its knees, and everyone was trying to avoid the spread of a novel virus, I was blessed and cursed to have ample time in the studio without anyone to photograph. As the year progressed and we learned how to find methods to safely interact I was able to really push my desires for conceptual execution and storytelling in my portraits.
Self Portrait Series • 2017-2021
While this series began long before the pandemic the bulk of my self portraits happened during lockdown. It doesn’t get any more difficult than taking a self portrait on a large format camera. If I’m lucky I have an assistant to help with the focus and triggering the shutter, but often I have to pre-focus the scene and perfectly hit my mark. In this series you can see my journey of making increasingly cleaner plates with more meaningful and expressive scenes that develop over time.
Form Studies • 2020
Using chiaroscuro, rim lighting, and other techniques — in addition to a black and white medium — it gives you a beautiful playground to explore the curves and contours of the human body. Given the limited amount of light and the limited size of my studio I am very confined with the compositions I am able to build with a body. Creative positioning, collaborative communication, and lots of lighting tricks are all necessary when making still-life from a body in motion.
Strobe on wet plate study • 2020
Strobes are fantastic addition to the toolkit. They put out a ton of light but the properties not always very flattering. Traditionally you would soften the light through large modifiers such as light boxes, umbrellas, and passed through multiple layers of diffusion. Unfortunately those modifiers drastically reduce the amount of available light on a very insensitive wet plate. Instead I’m reliant on precise placement and harmonization of harsh lighting to create flattering portraits, or to position things in a way that tells a story and sets a tone.
Diptych On Duplicity • 2020
I will often shoot with as many as four lights in a scene. One at high power on the subject to create the highlights. One at a low power, on the subject to gently fill in the shadows. One or two from behind to create foreground/background separation and to add a touch of drama. And sometimes another one to gently or intensely illuminate the background. When this arrangement doesn’t synchronize as intended, you get some very fantastic results. This sequence illustrates the duality of the character.
Tintype Portfolio 2021
Big Transitions
At the end of 2020 I built a bigger darkroom and a larger more light tight, portable dark box. The goal in this two month build was to upgrade my plates from four by five inches to the much larger eight by ten inch size.
A Study of Body Language & emotion • 2021
These plates pushed me to improve my technique along every step of the process. My efforts during this phase are focused on using the experience gained over the past five years to more clearly tell a person‘s story and convey their personality.
Directing Young Talent • 2021-2022
An ongoing series
Tintype Portfolio 2022
Latest work
So the good news is that they make some really great portrait lenses specifically for this purpose. The bad news is that they dont make them anymore. After years of scouring auction sites, secondhand stores and antique shops I found a lease that would suit my current needs. A Wollensak Vitax 16” f3.7. After some very precise work at a machine shop, I was finally able to mount up my 405mm Petzval lens from the 1890s. This is my 4th large format lens. It allows me to create greater separation between the subject and background, tighten the field of view to improve my lighting and composition options.
Form Studies II • 2021-2022
I have been overwhelmed and humbled at the number of people that have taken an interest, reached out with questions, or to collaborate on a vision. I have also worked on expanding my connections with the photo and artist communities. I have been able to collaborate with so many lovely humans with creative minds. As I refine my eye and improve upon my techniques I’m working to broaden my scope of visual storytelling and better controlling the details of the scene.
Difficult Models In the Studio • 2021-2022
In this ongoing series, I am learning to work with some of the more challenging subjects I’ve had in my studio. Making these portraits are more like a live figure drawing session. A very different experience compared to your more traditional photo shoots. Holding still, frozen in a deliberate look and pose is a challenging task for even the most focused model. It’s a near impossible task for these four-legged athletes.
Shibari Collaboration Series • 2021-2022
My most ambitious portrait project involves collaborating with models, hair and makeup artists, stylists, and rope artists. Exploring the fragility of gender roles and the resilience of individuals, this ongoing series seeks to utilize as many different talents onto a limited series of plates.
Contrast & Latitude Study • 2022
Exposure is an art and a science. Empowered with modern tools and visible light it is still a challenge to predict how much light will be needed to capture on the plate what you have envisioned in your head. As I have become more confident in my exposures, I have been able to play with the more artistic side. This series explores the tonality and complexity found in skin tone and how different exposure and development times can change the aesthetic of the portrait.
A Study in Nuance • 2022
A tintype is first and foremost a final print that comes straight out of the camera, highlights etched in silver offset the pitch black metal underneath to create a mysterious looking artifact that lasts for centuries. Throughout my six years of making wet plates I have aimed to make brighter and brighter plates. Recently I have begun focusing on capturing more subtle portraits that remain just as bright as my high-key counterparts.
Tintype Portfolio 2023
Detach • 2023
Subtlety • 2023
Shibari • 2022-2023
Pose • 2023
“The Chair” • 2023
Storied • 2023
Couples • 2022 - 2023
“tilL Death Do Us Part” Movie Props & PROMOS • 2023
5x7” Composition Study • 2023
Lighting Evolution • 2023
Family • 2023
Masculinity • 2022-2023
Femininity • 2023
Three Triptychs • 2023
Open Studio Sessions • 2023
Deliberate • 2023
Shooting tintypes is a really difficult process. Chemicals have to be made fresh and exact. Technique has to be dialed along a number of steps. Despite constant maintenance and cleaning, problems arise from time to time. Confidence ebbs and flows along with the clarity and contrast of each image along the journey. This year was full of challenges along the way. Even though my work is often flawed, they represent a moment in time for the subject as well as myself. Growth and reflection can be found in greater abundance in the failures and flaws.
Bodies • 2023
Our bodies evoke a lot of feelings, good and bad. Looking at yourself bare and holding space for what you see without judgment can be a liberating experience.
Off to a good start • 2024
As we head into the second full year in the full-time tintype portrait studio things are going well. Come get your portrait made, see the process, or learn how to make your own tintypes!