Introduced in 1853 by Adolphe Alexandre Martin, the tintype – also known as a ferrotype – is a direct-positive photograph created on a thin sheet of metal. Despite the name, the process actually uses iron plates coated with dark lacquer or enamel to support the photographic emulsion rather than actual tin.
Primarily used for portraits, they were initially produced in formal photographic studios. At the time, the images and their creators were specifically referred to as ferrotypes and ferrotypists, rather than photographs and photographers.
The medium enjoyed its widest use during the 1860s and 1870s, though its use persisted until the 1930s. While it began in a studio setting, the tintype eventually became synonymous with more informal environments. It was most commonly produced by ferrotypists working in booths, tents, or the open air at fairs and carnivals, as well as by itinerant sidewalk photographers operating from carts or wagons.
Fast forward to 2026, California-based photographer Conrad Young has spent over thirty years behind the lens, but the last decade has seen him retreat from the digital arms race back to this technology born 173 years ago. Eschewing modern convenience for 'super–vintage' soul, Conrad has mastered the demanding art of tintype wet plate collodion photography.
We caught up with him in his portable studio (with laboratory) amidst the mid-century glamour of the Viva Las Vegas Festival to quiz him on his journey into a fascinating, old-school technology that is proving everything old is new again.
Origins & the shift to tintype
Q. You started shooting in 1995 and built a successful commercial photography business by 2003 – but later fell in love almost by accident with tintype photography. Tell us about your photographic journey.
I got my first large-format camera from a friend – a trade for a Nikon D700 for an early 1900s Kodak 2D 5x7”. I was shooting X-ray film with it at the time, searching for a more tangible way to keep images. Digital photography photographers asking prices were falling, and clients weren’t paying what they used to. I saw friends’ studios closing and knew I needed to find a new path.
I met a friend, Tim, who was doing wet plate, but he moved to Costa Rica right as we connected. He asked if I wanted his gear – old chemistry, a 4x5” camera, and a pony camera. I sat with the gear and tried to figure it out on my own, but I failed many times. It was just a box of dry and wet chemicals, and I had no idea how to mix them. Back then, there wasn’t much on YouTube.
Eventually, I searched for local workshops and stumbled upon Will Dunniway. I called Will and we talked for five hours. I couldn’t afford his private workshop, but he mentioned he’d do a group session if I could find six people. I spent a week calling every photographer friend I knew – they all said no. I sat there thinking, “How am I ever going to do this? I have to do this!”
I went back to Will and asked for the contact details of anyone who had ever expressed interest in his workshops. Three hours later, I had six people signed up. The workshop was amazing – seeing how the chemistry was made and using Will’s 19th-century gear was life-changing. That first plate I saw of myself spoke to me. I’ve been on a quest ever since.
When the image is in the fixer and it changes to a positive, the unexposed silver and collodion are removed. That moment is pure magic – it feels like alchemy. That is when the soul is captured. The process is so tactile: pouring the negative onto a glass or metal substrate, sensitising it in silver nitrate, and exposing it. These images are massive compared to a 35mm negative. Because of the large format and fast lenses, the depth of field is only a couple of millimetres, and the fall-off is beautiful.
Q. What makes tintype far more interesting than, say, a Polaroid?
It’s funny you say that. In a way, it’s like the first Polaroid – except there’s a 'monkey' behind the scenes creating the image, and I’m the monkey! Unlike a Polaroid, where the chemical process happens inside the film, wet plate is entirely manual.
Wet plate is one of the sharpest, most detailed mediums. Because it’s made of silver, it will last hundreds of years. Every single image is unique and can never be replicated.
The pour of the chemistry, the heat, the humidity, the temperature of the silver bath – they all play a part. You spend 15 minutes making one image, and anything could go wrong at any moment. That’s the joy and the excitement of it.
Q. Wet plate is notoriously sensitive to temperature, humidity, and the age of the chemicals. What are some of the pitfalls you face when setting up?
I live in Southern California where it’s often hot and humid, but when I head to the desert, it gets incredibly dry. A few years ago in the desert, it was 46°C (115°F). The collodion and developer really want to be at about 20°C to work their best. I had to keep everything on ice to prevent the collodion from getting ‘sloppy’ and creating strange lines. If it’s too cold, it freezes up; it’s all about finding that sweet spot.
Logistically, it’s a hustle. You have to work in the shade, or the darkbox gets too hot. I’ve had wind blow tents away and gear break. Just last week, I opened my kit to find my plate holder had broken in four spots. I had to use wood glue and liquid electrical tape to fix it before I could even start. It’s a slow process – most people do four plates an hour. If I’m really moving, I can do 20, but I’ve trained myself to work fast.
The business & the travelling studio
Q. You operate a home studio in Oceanside California and a travelling studio inside a specialised darkroom bus. What unique challenges come with taking this 19th-century process on the road?
Years ago, my friend Chris Burkard hired me to shoot tintypes in Canyon de Chelly on Navajo lands for the National Parks and Travelodge. We visited three national parks in a week. Seeing the ruins and the traditional lifestyles of the Navajo people was incredible.
We had a Ranger with us so we could access the best vantage points. Then, a week later, I was in Yosemite among the tall mountains and forests. Lugging the camera is obviously more work than a mirrorless – but the images taken on tintype are a lot more unique.
When I’m at Viva Las Vegas for the pool party, it can be 40+°C and at times very windy. The chemistry prefers 60°F (15°C). Normally, you’d get nothing in that heat, but I’ve captured some of my favourite pictures in those environments.
Wet plate has taken me everywhere. I’ve shot portraits of Shaboozey, Dita Von Teese, and the Aquabats (who are heading to Australia soon). I even did 25 portraits at a baby shower where I met a hatmaker from Australia. The next week, his mate Marcel – an actor from Australia who does a Charlie Chaplin act – came to my studio for a session. It’s a small world and word of my business gets around.
I use a E-450 2000 Ford Shuttle Bus converted into a darkroom as my home base. As long as the camera is within 10 minutes of the bus, I’m okay – once you 'pour' a plate, you have about 10 minutes before it dries up. Pouring is like swishing cooking oil around your frying pan – except it is chemicals on the plate which is exposed like film.
It’s a difficult craft. There are only about 5,000 of us worldwide, and even fewer at a professional level that know how to master it. If you totally miscalculate one variable, then overlook another – the entire process collapses. Understanding the chemistry is the only way to lock down your variables and prevent a disaster.
Q. Your portable studio in Viva Las Vegas – how long does it take to set up?
After arriving in my van, it takes about four cart-loads of gear and three hours to set up for an event, with two hours to break down. We have the studio with camera, lights and background; chemical darkroom and the shopfront.
Q. What is the typical lighting setup? Is it constant light or flash?
In the studio, I use Speedotron 206 Extreme 4800W strobes which are incredibly powerful. The ISO of wet plate is roughly one (yes – one!), so you need that massive amount of power. Outside, in full sun at f/16, the exposure is about one second. In the shade, it can be anywhere from four to six seconds.
The camera setup
Q. You shoot on various plate sizes, up to 11x14 inches. What are the technical hurdles of large format?
5x7” is relatively easy, but as you move to 10x10” or 11x14”, you have to be very careful with your pour. If you mess up an 11x14”, you’re wasting a lot of money. The largest I’ve done is 20x24”, which cost about US$150 per image just in materials.
My lenses don't have shutters; I just use the lens cap for natural light. This means you don’t want to fumble and drop the cap.
Most of my apertures are Waterhouse stops. My go-to is a 1953 Voigtländer Petzval-style lens – I’ve shot thousands of portraits on it and I love it. The way it renders is beautiful.
I also use Dallmeyer, Jamin Darlot, and various landscape lenses. My cameras range from the 1860s to the 1940s. I even made a wet-plate pinhole camera for a student last year which required a 15-minute exposure!
Q. How do you direct subjects for such long exposures? Do they need to remain very still?
I use head braces – they can’t move! I also tend to shoot wide open to keep the exposures as fast as possible.
Plans and upcoming projects
My future plans are centred on a mix of long-term book projects and refined technical exploration. I am currently working on a book, with a major chapter dedicated to portraits of veteran punk rock performers – many of whom are personal favourites. Parallel to this, I am collaborating with various athletes to explore motion, using high-speed strobes to 'freeze' subjects in time.
I’m also shifting my focus towards more dedicated studio time and fine art work, specifically producing prints from my negatives. I’m moving away from the unpredictability of pop-up events, which can be a bit of a drag, to focus on finding the right long-term projects.
On the technical side, I am currently building a new, more portable 10x10” dark box. This setup will be significantly easier to travel with than my current tent, allowing for greater flexibility when shooting on location.
Apart from smaller events there are these main projects:
6 June: I’ll be shooting at the Punk Rock Museum in Las Vegas for the ‘Punk Rock & Tiki’ event hosted by Tom 'Big Toe'. I’m looking forward to photographing the various artists involved in that scene.
August: I’ll be at Tiki Oasis, which is always a fun and rowdy event.
Next April: I’m heading back to Viva Las Vegas, alongside several other projects that are currently in development. ■