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The areas with the least amount of silver, corresponding to the darkest areas of the subject, were essentially transparent and appeared black when seen against the dark background provided by the lacquer.
The image as a whole therefore appeared to be a dull-toned positive.
The tintype photograph saw more uses and captured a wider variety of settings and subjects than any other photographic type.
It was introduced while the daguerreotype was still popular, though its primary competition would have been the ambrotype.
Chemical treatment then reduced the crystals to microscopic particles of metallic silver in proportion to the intensity and duration of their exposure to light, resulting in a visible image.
The later and more convenient dry process was similar but used a gelatin emulsion which could be applied to the plate long before use and exposed in the camera dry.
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Sometimes the camera was fitted with a mirror or right-angle prism so that the end result would be right-reading.
The process was first described by Adolphe-Alexandre Martin in France in 1853.
It began losing artistic and commercial ground to higher quality albumen prints on paper in the mid-1860s, yet survived for well over another 40 years, living mostly as a carnival novelty.
The tintype's immediate predecessor, the ambrotype, was done by the same process of using a sheet of glass as the support.