Tintypes are the 19th century Polaroids. And what about 20th century Polaroids?

November 05, 2015  •  Leave a Comment

There are tree points why I love to work with tintypes. One of them is that it give an instant, in site result. That moment when you are in the field and you can see, how country around you is transformed into a picture. 

The second quality is that with tintypes there is no postprocessing. It is maybe just a foolish feeling, but it give photographs a stamp "unmanipulated". I know, that every photography is a transformation of reality. But maybe there is a difference between transformation and manipulation. 

It is not about a vulgar photoshopping we know from magazines. It is not about a changing of the shapes.  It is about the changing of the light in the scenery. 

Just compare works of Ansel Adams and Josef Sudek. We all love works of both of them, but they approach the photography in a very different way. 

They were both working with large format cameras. For Ansel Adams were his negatives  just a score. A deliberate and complex developing of positives in the darkroom was his trademark. On the contrary, Josef Sudek had just made contact copies. 

The third quality of tintypes is they originality. Every of them does exists in just one copy. No prints, no reproductions. For me, it is  fascinating, because the reproducibility, the readiness for mass production is one of the basic points in the definition of photography. 

Polaroid photography has all of these qualities. They are instant, unmanipulated and do exist in just one copy. It is an interesting experience to work with them side by side with tintypes. 

Before I started with Polaroids, I made some research. It was Walker Evans who said, that nobody should touch a Polaroid until he is over sixty. I'm below that limit, so I can just hope, that I'm not going to produce with Polaroids too much of mess.


P.S If you like plates, you can buy them from Gallery section of this web

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