In this article, Mary Harrell-Sesniak shows how you can date old family photos by first figuring out what type of photograph they are. find a woman of your dreams without risk or games guaranteed! Master index of the vintage motoring gallery. The vintage transport photos in this section of the site are now spread over 18 pages. Most are black & white or sepia. I Young dating in virginia up in northern IN Dating old photograph now live in central OH. The three pieced Dating old photograph emerged, as did the ascot towards the end of the s. Card edges experienced numerous changes during the latter s. This look is not as soft as the first bustle period. Granny Sex Dating UK is a fun-filled way to meet people looking for sex. Please improve it by verifying the claims made and adding inline citations.
The Costume Detective How to Date a Photograph Using Costume History Example 2 - Charlotte. By Pauline Weston Thomas for Fashion-Era. The Costume Detective How to Date Photos with Costume History Dating the Victorian 's Photograph of Charlotte Emma Pitman Using the Hair Style to Help Date a Photograph Sleeves Hidden Reticule Late Victorian 's Old Photograph of Charlottes' Daughter Footnote. Click thumbnail It is never as easy to date a picture where a person is sat down as one where the person is standing, or placed within a group of people with whom one can make comparisons about dress and deportment.
This analysis of the photograph is an outline of the facts related to costume as I see them and more or less as I told the photograph owner. I wrote to Lindsay - We are faced with a photograph that is harder to date because the young woman in it is sitting down.
Any picture where the model is sitting down is generally less easy to date because her dress is difficult to see properly in silhouette. It is the silhouette that gives the complete answer.
Elements like the width of the skirt, the position of the waist, the length of the skirt, the width of the shoulders, the style of the sleeve all give dating clues.
So what I usually do is try to eliminate some dates by looking at specific aspects of the dress and from there estimate the date of the photograph using other facts that shout out evidence. At first glance this picture tells us a little about the person posing. Overall the picture says a young woman of refinement and great deportment and bearing. The quality of clothing and grooming is very high. Some knowledge is useful to give a starting point for further research and without hesitation I can say this is quite obviously a portrait of a Mid Victorian woman.
But narrowing it down to a nearer year is a little harder. In this case we begin by using her hairstyle as it gives us the most assessable information about her. On my website I have some simple outline hairstyles and hat line drawings to show how the hair changed over the century.
You'll see that http: These quick line drawings researched and done by me some time ago show clearly the similarity of styling circa I also have some links for you below, so you can see how the hair style fits with some other pictures on other sites. After more and more frizzettes appear in the hairstyling and at Roger's excellent and comprehensive photographic web site, we can see in the image for within the page links at http: There is a hint of the start of a natural frizzed fringe on your picture which would probably place it prior to Lots of false hair was also used in the s and the bun on the top may or may not be a switch, but I suspect it is her own hair.
Using the hair is not a perfect way to date as some women stick to one style all their life which can work in reverse and give clues to their teen years when they adopted it , or her mother may have liked her to wear her hair in a more old fashioned way. But generally people follow one of half a dozen style images of the day. This hairstyle is circa to about This very much ties in with my first initial impression of the photograph which is that it is at the tail end of the very late crinoline skirt style post that has merged here into the early stages of the first bustle period.
Click thumbnails Clear evidence of the gathered bustle effect can be seen at the back of the skirt although it is not clear if the skirt front has a tablier apron as the picture is chopped off at knee level, so it may be there, but rather long. In fact a closer look suggests it is the beginning of the first bustle style because we need to realise that all skirt styles in the late crinoline stages were flat fronted and this has some gathers at the centre front so I would think this about when coupled with the hairstyle.
Combine this with the seated pose at the table and the book there to imply literacy and a date of seems to fit. The sleeve is also interesting and is deep cuffed and slimline like later styles. If you are interested in researching this further, paste these deep links into your browser. A reticule is a small bag and she would have used it for her personal pieces like a handkerchief, smelling salts etc.
Reticules were used throughout the century, but what is interesting about this reticule is that it matches the rich plush velvet. And this is high quality plush velvet not some cheaper substitute such as velveteen. So the matching reticule suggests a custom made dress and some available wealth. The close fitting button up front waisted bodice is typical of styles to mid s. But second bustle bodice styles are like corsets and a bit longer and more armour like - they are super fitted.
The sleeve heads of this bodice are slightly off the shoulder suggesting the cut being nearer Victorian sleeves worn with crinoline styles. The beads may well have been borrowed from her mother and add a very sophisticated tasteful decorative touch, so they also make her look 'older'.
They may also be some form of mourning bead as they are dark, so a death in the family in the previous year might also be worth checking too. The beads also have a handmade tribal quality to them which might be connected to their being a gift from a member of the family and travels abroad. This is some of the response I received from Charlotte's living relative Lindsay.
However Charlotte was born in date taken from Census information so conceivably inaccurate and the dates given would place her between 14 and 16 years of age whereas I would say the photograph is of a woman of at least 18 to 21 years of age I have no idea in those days when girls were allowed to "put their hair up" and become an adult which means I would have preferred dates of between and I have spent some time re-looking at the back of the photo, along with some of the sites you visited as part of your research for the front and have come across a match.
The front of the photo was of a vicar circa The photo back is a poor quality image so I've not included it here, but this highlights how you can use photo backs, print thickness, card thickness and decorative effects on cards for extra dating information. What is interesting is that my photograph was clearly taken at TC Turner's Cheapside Studio, which by if the dating of the vicar photo is accurate had closed - the address has been struck out.
So Pauline, based upon your detailed research I am inclined to "feel comfortable" that this photo was taken in the early 's and no later than the mid's, which has got to be good enough to confirm it as Charlotte and THANK YOU VERY MUCH!! TO TOP OF PAGE. I knew after some searching you would possibly locate a similar card back and that old photos with rounded edges are after and is a good indication of post But as you can see it is a huge site to search through.
Roger's site has more information on the various card types and I'll leave that to his expert knowledge. The date you prefer is fine. When dating a photo it is usual to date within 5 years either way so you can add or subtract 5 years from my suggested late 's date. I am afraid the picture just does not reveal enough information as she is sat. To my eye I think she could be anything from 14 to She has very little bust. So compare her to family females — are they busty or not, early or late in their personal maturation.
She also has a small waist even though it is covered by her arm. Hair would be up by 18, but may have been put up much earlier from 14 dependant on all sorts of reasons and the family wanting to keep their young daughter a girl for longer, or marry her off fast.
I have just remembered about this site with some great hair pages from paintings and other illustrations. You can see the little differences and hair changes in many paintings here.
The jewellery is very interesting and it may be worth a trawl around antique jewellery sites for similar pieces for comparison. But of course mum could have loaned it!!! I've since also found an s photo on Roger's site showing a woman wearing similar heavy, but longer beads. Yes and of course we must bear this fact in mind that girls dressed to look older until the s and emulated their mothers.
The mature woman was the one to be seen to look like. So it is all ifs and buts. Fashions also have a five year time lag when fairly classic clothes. It is the cuffs and slimness or fatness of sleeves that dictates when a garment existed. Today I am at home and wearing a linen blouse and a pair of summer trousers I have had several years which I could easily have been wearing 5 or more years ago.
But my new blouses and sweaters bought in the past 12 months almost all have three quarter sleeves or lopping over the hand extra long sleeves, so you see my point. Yes standard wrist blouses are in the shops too, but we tend to buy the latest little fashion touches especially on classic garments when that's all there is to differentiate them. I wonder if Charlotte in this old photograph could have envisaged that she would be studied with such interest so far ahead in time.
Wouldn't it be wonderful if we could find out if she was as interested in the trends of her day as we are in ours. Lindsay later told me that this photograph of a woman sitting, is of his relative Charlotte Emma Pitman, who was born in and, sadly, died young aged 34 in , having had three children. Her husband, who adored her, did not marry again, dying in and their eldest son died of his wounds in the last few days of the Great War.
Here is a picture of Charlotte's daughter Margaret and I hope to examine the styling of her clothes at a later date when I look at the changing leg of mutton sleeves of the s.
Photographed here with her favourite dog Laddie To persons reading this - from a genealogical point of view I am able to put you in contact with the owner of this picture if necessary. And thank you Lindsay for allowing me to use such lovely examples as these beautiful old photographs on my fashion-era web site.
All these individuals work hard to help others understand the nuances between costume. Changes in technology, leisure, work, cultural and moral values.
Homelife and politics also contribute to lifestyle trends, which in turn influence the clothes we wear. These are the changes that make any era of society special in relation to the study of the costume of a period.
This site is owned, designed, written and developed by author: Pauline Thomas and Guy Thomas. This site is designed to be viewed in X or higher. Images and text in this website may not be used on other websites.
If you still cannot find the answer after searching the site, then before you email me, please consider if you are prepared to make a donation to the website. Donations Reader's donations help this site flourish, in particular donations encourage me to write more articles on fashion history as well as current trends. PayPal allows anyone with a credit card to donate easily and securely. You may donate any sum you feel appropriate. Yandy Simply the best Halloween Costumes. Dating a Victorian Photograph of Charlotte Emma Pitman Click thumbnail.
Charlotte's Daughter Margaret Photographed here with her favourite dog Laddie. For superb Victorian or Edwardian re-enactment costumes in USA, try the reproduction costume range at: The Costume Detective How to Date a Photograph Using Costume History Example 2 - Charlotte By Pauline Weston Thomas for Fashion-Era. Dating the Victorian Photograph of Charlotte Emma Pitman The old photograph below is one I examined with the understanding that the date estimated was likely to be 5 years either side of the actual photograph.
A tintype , also known as a melainotype or ferrotype , is a photograph made by creating a direct positive on a thin sheet of metal coated with a dark lacquer or enamel and used as the support for the photographic emulsion. Tintypes enjoyed their widest use during the s and s, but lesser use of the medium persisted into the early 20th century and it has been revived as a novelty in the 21st.
Tintype portraits were at first usually made in a formal photographic studio, like daguerreotypes and other early types of photographs, but later they were most commonly made by photographers working in booths or the open air at fairs and carnivals , as well as by itinerant sidewalk photographers. Because the lacquered iron support there is no actual tin used was resilient and did not need drying, a tintype could be developed and fixed and handed to the customer only a few minutes after the picture had been taken.
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. The tintype saw the Civil War come and go, documenting the individual soldier and horrific battle scenes.
It captured scenes from the Wild West, as it was easy to produce by itinerant photographers working out of covered wagons. It began losing artistic and commercial ground to higher quality albumen prints on paper in the mids, 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. The glass was either of a dark color or provided with a black backing so that, as with a tintype, the underexposed negative image in the emulsion appeared as a positive. Tintypes were sturdy and did not require mounting in a protective hard case like ambrotypes and daguerreotypes. There are two historic tintype processes: In the wet process, a collodion emulsion containing suspended silver halide crystals had to be formed on the plate just before it was exposed in the camera while still wet.
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.
In both processes, a very underexposed negative image was produced in the emulsion. Its densest areas, corresponding to the lightest parts of the subject, appeared gray by reflected light. 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. To obtain as light-toned an image as possible, potassium cyanide , a very dangerous and powerful deadly poison, was normally employed as the photographic fixer.
It was perhaps the most acutely hazardous of all the several highly toxic chemicals originally used in this and many other early photographic processes.
Each tintype is usually a camera original, so the image is usually a mirror image, reversed left to right from reality. 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 It was first called melainotype , then ferrotype by a rival manufacturer of the iron plates used, then finally tintype.
The ambrotype was the first use of the wet-plate collodion process as a positive image. Such collodion glass positives had been invented by Frederick Scott Archer in and the name Ambrotype was introduced in the United States by James Ambrose Cutting in when he patented a variation of Archer's original process.
The tintype was essentially a variant of the ambrotype, replacing the latter's glass plate with a thin sheet of japanned iron hence ferro. Ambrotypes often exhibit some flaking of their black back coating, cracking or detachment of the image-bearing emulsion layer, or other deterioration, but the image layer on a tintype has proven to be typically very durable.
Compared to their most important predecessor, the daguerreotype , tintypes were not only very inexpensive, they were also relatively easy and quick to make. Although early tintypes were sometimes mounted in protective ornamental cases, like daguerreotypes and ambrotypes, uncased tintypes in simple paper mats were popular from the beginning.
They were often later transferred into the precut openings provided in book-like photograph albums. One or more hardy, lightweight, thin tintypes could be carried conveniently in a jacket pocket. Although prints on paper soon displaced them as the most common type of photograph, the tintype process continued to enjoy considerable use throughout the 19th century and beyond, especially for casual portraiture by novelty and street photographers. Tintypes were taken in Afghanistan during the Afghan War by U.
Air Force personnel, the first taken in a war zone since the Civil War. John Coffer, a featured photographer in the New York Times , travels by horse-drawn wagon creating tintypes. Macy , and Philip Seymour Hoffman. In the s visitors to Busch Gardens could don Old West clothing, usually a studio provided hat and jacket, and sit for a period style tintype.
Ferrotyping is a finishing treatment applied to glossy photographic paper to bring out its reflective properties. Newly processed, still-wet photographic prints and enlargements that have been made on glossy-type paper are squeegeed onto a polished metal plate called a ferrotyping plate.
When they dry and split off due to slight shrinkage, they retain a highly reflective gloss. From Wikipedia, the free encyclopedia. This section has multiple issues. Please help improve it or discuss these issues on the talk page. Learn how and when to remove these template messages. Ohio State University Press.
The Focal Encyclopedia of Photography , p. Retrieved from " https: Photographic processes dating from the 19th century Alternative photographic processes. Articles needing additional references from March All articles needing additional references Articles with a promotional tone from February All articles with a promotional tone Articles needing additional references from February Commons category with local link different than on Wikidata.
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