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    B is for Buckaroo

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    Leveled Readers. Optical Illusions. All he wanted to do was cowboy. For more than 20 years the photographer Robb Kendrick, a longtime contributor to National Geographic, has traveled around the United States, Canada and northern Mexico visiting just such places, increasingly rare ones where development has been kept at bay and discouraging words seldom are heard, at least on cellphones, which stop working a hundred miles from the nearest tower. Mostly he just needs time, patience and lots of elbow grease. And as he labors, moving methodically from beneath the hood of his wooden box camera to a portable field darkroom, bearing wet iron plates that he has painstakingly prepared, he thinks of himself not as simply making pictures but also as taking part in the world of the cowboys who are the subjects of his otherworldly tintype portraits.

    Reading on the Ranch

    Kendrick said. They respect any kind of honest hard work. Kendrick belongs to a growing group of commercial and art photographers — including gallery stars like Sally Mann and Chuck Close — who have retreated in recent years from the ease and exactitude of the digital age and taken up the difficult, ethereal techniques of early photography, including the ambrotype in which a unique image is created on a glass plate , daguerreotype on polished silver and tintype usually on tin-plated iron. The latest result of Mr.

    Vaquero, Californio, Buckaroo, Ranch Roping, Hackamore Horse Calf Branding

    The pictures — made by exposing and developing the metal plates after they have been coated with a light-sensitive solution of silver nitrate — are a kind of ideal meeting of subject and style. Many of the cowboys pine to have been born in the 19th century. And the tintypes, with their sepia tones, blurred peripheries and ghostly aura, take the cowboys back to the era when such photographs were taken by traveling commercial photographers.

    Curtis in the early s. Kendrick estimates conservatively that he has covered more than 40, miles of often lonesome road in his pickup and visited more than 60 ranches, towing a trailer that he uses as a darkroom. The most recent version of this mobile darkroom, specially made for him by a Mennonite company in Indiana, is as high-tech as his wooden cameras are primitive; it has an iPod docking station, climate control and stainless steel countertops.

    Kendrick, who began to learn tintype techniques in , after years of photographing cowboys with more conventional cameras and no toxic vats of potassium cyanide. Kendrick has long been drawn to cowboys as subjects, in part because he grew up around so many in Hereford, Tex. As the era in which their livelihood was created recedes ever further and fascination with their stubborn embrace of it seems only to grow, cowboys also have to endure a lot of curiosity, from writers and filmmakers and photographers.

    And so Mr. Kendrick has had to work hard to overcome the impression that he is just another dilettante spectator. But Mr. Rupp said he was proud of the stoical portrait Mr. Kendrick took of him, standing next to his wife, Faithe, the twirled ends of his long white mustache seeming to reach out toward her like tendrils. And Mr. Rupp said he believes that such portraits were an important record of modern-day cowboys at a time when cattle ranches are shrinking along with the number of working cowboys — or at least those he considers worthy of the name.