Trial and Error with big cameras

10 Plates exposed, only one produced a usable image, my note book and scribbles about producing ferrotypes.

Unfettered optimism, I’ve been accused of a lot of things, but this is certainly not one of them. Why is it then that I’m surprised when I try something for the first time and fail? Where does this ungrounded confidence come from? I love trying new things and experimenting with different creative processes, and I’m surprised when I fail to achieve stellar results on the first attempt. Probably too many hours spent as being an armchair cowboy and not enough actually in the saddle.

This is why I love Analog photography and the whole process associated with it, it never stops being a challenge and requires far more dedication to achieve passable results versus digital. I love digital, when I need something now, and have to ensure it is the best I can produce quickly……it is digital. But, when I have the time and need to get away from our world of glowing rectangles….bring me analog. I have been learning the art of large format film photography over the last couple years and finally finished my first project “Titans of Industry”. After a couple months off, it was time to get the big cameras out again and go back to square one. This time I decided to learn dry plate Tintype or Ferrotype photography in the 4”x5” format which uses thin metal and special chemicals to produce a positive image directly from the camera. Why would I leap technologically backwards again, because the journey of discovery and trial and error is far more enjoyable to me than buying photoshop actions.

Supplies: Rockaloid Bulk Tintype kit, everything you need to get started (sans camera supplies)
The tin plates arrive pre coated black so all you need to do is trim it to fit in 4x5 film holders if you are using them.

Trimming Plates to fit 4x5 film holders

Prep: Next is the fun part, coating the plates in a darkroom with Ag Plus emulsion. Learning curve time. Put too much on them and they produce foggy, crystallized images, not enough and you don’t get no image. How much you ask? Just enough….12 frames later, I have only one passable image and nothing clear. Pour a spot in the middle and then roll it around quickly to cover the plate, but you don’t want any extra thick areas that show up “white”, you are aiming for a consistent thin covering turning the black metal a light gray. Not surprisingly, this is really difficult and I’m still working on figuring this part out.




Exposure: “Expose like photo paper, not film”—Jill Enfield offered me this advice. My first batch I exposed at ISO 20 and failed to get an image, so taking Jill’s advice I lowered my exposure to ISO 8. I use a Sekonic 358 light meter for exposure times and a little Kentucky windage as well.

Rolling the emulsion onto the plate for even coverage.

Drying emulsion covered plates

Gear: Tin doesn’t fit in standard film holders, it is too thick. I picked my worst condition film holders and used a regular screw driver to expand the film rails on both sides giving me more clearance. I use needle nose pliers wrapped in electrical tape to extricate the plates….not pretty but it works.

Graflex Speed Graphic with 178mm Aero Ektar and JoLo custom add ons

Camera: Modified Graflex Speedgraphic with tilt and shift.
Lenses: Kodak Aero Ektar 178mm F2.5 also a 5” Brass Petzval f4 (can be modified to a meniscus)
Tripod: Huge bogen that nobody would dare steal
Light: Impact Fluorescent head with 30” Octobox –so far exposures need to be doubled or tripled versus what the meter says. This is probably due to the lack of blue spectrum that the emulsion is sensitized to.

Another 10 plates, this is my first keeper, black bear skull with notes. Everything dies, not everything becomes a trophy.