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16th Set, an Ambrotype
< 16th Set 1851 Tintype - Ambrostype Studio Portrait
(as seen on home page)
BEFORE
This tintype has a bubble inside the glass.  The glass is supposed to be solidly sealed
but this glass seal has been broken.  Normally, a broken seal will render a photo to be
useless, as it can turn into a negative.  Turn the picture one way, it's a positive, then the
other way, and it's a negative.  This one survive the broken seal problem.  It's bubbled.

AFTER
To fix it, we need to get rid of the bubble.  To do this, we need to restore the face first.  
The face is a delicate matter, especially on tintype photos.  Metal is unforgiving.  
This one, need some delicate movements.  We need to make our changes then
change the rest of the photograph so that it prints lighter.  This print will be dark.  
There is only one way to help this is to treat for fade.  But the face was NOT faded.  
It was bubbled.  Air gets into the glass and saves the image.  We save it this time.  
< 15th Set  1882 Tintype Photo (Ferrotype)
BEFORE AND AFTER  
Again, this canvas background is stained with the gun powder and although we
restored its natural color, it took hours to get back to a clean background.
In the day, they would display their tools of their trade for a photograph.  
In the day, photographs was a record of their existence and their trade.  
Photographs were not the vanity spirit we regard it, today.

This man was willing to pay a high price for a studio photograph with flint.   
Although this man did not show his tools of his trade, his family suggested
that he was a blacksmith, although, most blacksmiths did not have a beard.
If a blacksmith had a beard it was usually burned off quicker than growing it.  
Photo Restoration: Recovering a Polaroid from Beach Sand
< 17th Set  1887 Tintype:  Rocking Chair, Grandma

BEFORE AND AFTER   (original tintype size 2.3X3.2 - printed to 4X6)
Tintypes from the East Coast survived the most often only with rub-fading.
Tintypes in the Midwest have extreme damage or were lost during travel to the West.
Their travel was brutal, photos easily lost in desert sands.  Our Midwest customers who
find those tintypes, want them restored.  Tintypes that made it to the West survived and
those are not called upon.

In this series, starting with left, its image is too-far gone, so we rebuilt it.
We especially want to save grandma. The chair has carved posts, back.
We filter-rebuilt her face.  We copied the chair from top-right-corner to top
left-corner,
reversed-image, inserted that to other side, filtered its colors, and stripped-out red. We
injected original sepia color. Photo orientation:  We digitally turned from crooked-right to
vertical, then centered subject.

BEFORE AND AFTER
The right-lower corner of this before tintype photo (oval) covers his leg.   
We used free-hand-mouse to draw his leg and knee with jean-wrinkles.
We make tintype ovals into rectangles to fit today's photo frames.

This particular tintype was in good condition laid over a porclain frame.
It was taken between 1857 and 1870, post-war era, as a family photo.  
In sepia color, we kept its tone for its easy to see detail.  
< 11th Set  Tintype - Mouse-Drawn Knee and Jeans
< 18th Set  1800 Cabinet Cards (during the Tintype era)

As always, we take the opportunity to teach viewers about Cabinet Cards.
Filtering the yellow from the natural color of the card, produced styled prints.
Some were yellowish faded on purpose as its only color of its period.  

This is from a family collection.  The owner wanted its bottom print cropped.
Resized and re-worked, we were allowed to display and teach about them.

Cabinet Cards  
Cabinet Cards are the mimeograph print machine, first established 1887.
They were rejected at first, placed in a cabinet to be forgotten, and called,  
"those forgotten cabinet cards we could not toss away into the garbage."  
Folks regarded  tintype photographs as their "real" photograph images.
Great artists, highly skilled, produced works of art from tintype photographs
to produce their copies from glass plates for the first mimeograph in 1887.  

Named  
Collotypes (Calotypes) 1840-1850 by William Henry Fox Talbot,
later named
Carte de Viste, later named Cabinet Cards, slow in the market,
took their place in short order, but later was rejected by its general public.
< 14th Set  1881 Tintype Photograph (Ferrotype)

BEFORE  
Originally, this Tintype was taken in an old studio with a gun-powder "flint-flash" with
non-flammable canvas background surround behind the subjects.  This Canvas
background is stained from gun powder flint flash.  A fire retardant canvas was
required in the day.  Still, fires did start and there was usually a bucket of water
nearby.  The subjects were doused with powder and then water too -
usually.   

AFTER
We maintained the original colors to keep them in tact as our usual.
The background is the natural color of the photograph.  It was common to have a
sleeping baby after the long wait of having a photo taken. Photography commonly took
more than 45 minutes to an hour for an image.  Photographers had a very small
headrest on the wall to rest upon, for those who couldn't keep their head in one
position for an hour or two.
< 10th Set - 1930's Sepia 5X7 Water-Damaged

BEFORE AND AFTER  
This is our best example of a photo that has mildew, water damage, age spots, tearing.  Mildew damage in a photo can be nearly impossible.  
This photograph shows tales of its past and current condition.  Although clapboard siding can be deceiving, this has damage that just pops out.
We kept the clapboard the same because the owner wanted this photograph to show the same about the house but to fix the persons within it.  
< 19th Set  Tintype - Massive Damage, No Color, Full Recovery

BEFORE AND AFTER
Other restorers may reject a tintypes for age, damage, labeling it "impossible".
We restore the "impossible" as tintype specialists, as we embrace a challenge.  
If there is massive amounts of damage, as tintype experts, we love a challenge.   

This tintype is an Ambrotype with usual monotone each had his own recipe mix.
We cannot list it's massive damage but we can recover it.  Decide where to start.
Our plan is to recognize images and restructure.
This man is sitting on step, coffee mug behind.
We can't see what is in front of him, we all agree.
Our client agrees on many facets of structuring,
organize damage to originality in our expertise.
Client says his hair is "flat-top" - we'll go with it.
We will print its final to 4X6, B&W on microfiber.
As always we'll archive the photo on gold disc".
206-337-2020 Seattle
888-546-2384 Toll-Free
206-337-2020 Seattle
888-546-2384 Toll-Free
206-337-2020 Seattle
888-546-2384 Toll-Free
< 13th Set  Discolored in a Fire, Early 1930's, 8x10 Sepia

BEFORE AND AFTER
You can see fire with smoke damage in the upper and lower thirds.
This is not fade but is fire damage.  In the late 1800's never a portrait even
Getting a portrait this well focused, well maintained, in yesteryear is great.
This photo was cut off at a 6 x 10 as we managed to make it into 8x10.
It's fire damage was upper and lower so cropping it was the best we did.

As experts this is known as getting a break as we have more problematic
photographs to tend to.  This photograph being an original sepia 8x10,
trial printing is one of the utmost important final touches.  Our team inspects
our work with scrutiny, suggestions and a final grade.  

For the same low price, you get a whole team for quality assurance.
You really need to call us for the best in photo restoration works.    
206-337-2020 in Seattle
888-546-2384 Toll-Free
You Really Need Call us!
#3 Photo Restoration: Cleaned up, Cropped and Centered.
< 12th Set: 1907 Grandfather-Coach, Soccer Player
  
Free-hand Mouse-Draw a Soccer Ball

This 9 year old was a grandfather. He was a soccer coach and player, and was
President of the Florida Soccer Association. His granddaughter restored this.
Now his granddaughter is a soccer coach and manages the soccer association.
She thought the soccer ball was too far on the left, wanted it seen much better.
We redrew a ball with free-hand-mouse, as our photo artists can draw circles.

This grandfather had glue in the hair.  We do good hair with free-hand mouse.  
Also, the shoes were mouse-drawn.  Fading colors will make lots of age spots.
Spots are mostly caused with the flaking chemicals peel away from the photo.
The black oval border is from a time when plastic was used for frame-seals.
The oval was converted to a rectangle for today's common sized picture frames.
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< 9th Set  1855 to 1870 Tintype Photo - Young Girl
BEFORE AND AFTER
This photo was entirely covered by corrosion and mold debris.
Very painfully restored to completion, its finished took days.  
In the end, in our print trials, we made its photo-color pop.





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< 20th Set  Tintype Sepia with Massive Damage;

BEFORE AND AFTER

Typical of tintypes from early 1800's, customer thinks its late 1800's.
We agree since he knows his own great grandfather better than we.  
Our client wanted his head to be exact as-is but we need some art.  
We used freehand mouse to make a jaw and ear, and a collar.  
Also, we copied the floor planks across. We cleared the background.  
The legs on the chair were typical 1840 but was also used in 1870s.
We renewed the legs of the chair with lots of hand-mouse-drawing.   
We cleared spots from the boy, made sure to preserve his wrinkles,
his clothing needed to be authentic as the shot was taken that day.
We kept wrinkles on his pants and over-shorts and on the pea-coat.  
He has lots of buttons on the coat and we made sure all were there.
Shadows are our specialty it seems so we made sure it had those.
Our customer reports he has a headstone for this guy and his family
is very happy to see the differences between the two photos.  We too.
These photos appear small in 72-JPEG because tintypes
are small.
206-337-2020 Seattle
888-546-2384 Toll-Free
Tintype Photo Restorations
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all displays have a customer photo release
206-337-2020 Seattle
888-546-2384 Toll-Free