Today we’d like to introduce you to Kelsa Myszewski.
Kelsa, we appreciate you taking the time to share your story with us today. Where does your story begin?
For over a decade, I’ve been behind the lens, documenting stories through my photography business, Kay Collective, photographing weddings, couples, families, and portraits across Minnesota and beyond.
More recently, I’ve fallen in love with the timeless craft of tintype photography – a process that slows time, where each plate is made by hand and every image is truly one of a kind. It demands presence, patience, and care. I’m drawn to the way tintypes transform honest moments into heirlooms, creating portraits that feel both personal and enduring.
Before I even owned a tintype camera, I was asked to host a tintype pop-up at the Boats and Bluegrass Festival here in Winona, MN – an event that celebrates music, art, and community right along the Mississippi River. I said yes, not fully knowing what I was getting into. I quickly gathered every piece of equipment, every chemical and tray, and taught myself the wet plate collodion process in time for the festival. That weekend was the start of something special.
At my pop-up, I met Jon Swanson, Curator of Collections and Exhibitions at the Minnesota Marine Art Museum, who invited me to see a historic studio camera tucked away in storage. It was stunning, a true piece of photographic history, and I was honored to give it new life.
The only problem? It was huge, a true studio camera, and I didn’t have a studio.
That’s when community stepped in, as it so often does here. My good friend Leanne Kruse from Janky Gear shared my story with Zak Fellman from Pillbox Bat Co. and HVRNT Studio, and within days, I was offered a space to work out of. It felt like everything was aligning in real time – people simply wanting to help, to invest in someone else’s passion.
Now, I’m working toward opening that studio space this December, right here in Winona. Folks will soon be able to stop by and be part of a process that dates back to the earliest forms of photography, created in the 1800s with light sensitive chemistry on a metal plate. It’s been incredibly humbling to watch how Collective Types came to be – built not just from my own love of the craft, but through the kindness, generosity, and encouragement of others. Winona has reminded me what it means to create together – to invest in stories, in craft, and in one another.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
It definitely hasn’t been a smooth road, but I think that’s part of what makes it meaningful. The tintype process itself is incredibly intricate and temperamental. Everything from humidity to temperature to how the light hits the plate can change the outcome, and every step is done by hand. There’s a steep learning curve, and I was figuring it all out under tight time constraints to make things happen in time for my first pop-up. There were late nights troubleshooting chemistry, testing exposures, and questioning if it would all come together.
But even in the hard moments, there’s something grounding about working through those imperfections. This process teaches patience, humility, and problem solving. Every plate feels like a small victory – not because it’s flawless, but because it exists at all. I think that’s what keeps me coming back to it: it’s slow, it’s unpredictable, and beautiful all the same.
Can you tell our readers more about what you do and what you think sets you apart from others?
At its heart, Collective Types is about slowing down and preserving what makes us who we are. I create portraits using the wet plate collodion process, a photographic method from the 1800s that captures light directly onto a sheet of metal, what we call a tintype. Each plate is poured, exposed, and developed by hand within minutes. There’s no digital editing, no retakes, and no two plates are ever the same.
What sets this work apart is its pace and honesty. In a world that moves so quickly, tintype photography asks both the photographer and the subject to be still. It’s not about perfection, it’s about presence. Every portrait carries small imperfections that make it feel alive: a streak in the silver, a soft edge, a fingerprint in the emulsion. Those details tell a story as much as the image itself.
I’m most proud of how people respond when they see their portrait develop right in front of them. To me, that’s the magic of this process – watching someone see themselves rendered in silver for the first time, realizing that this image was made by light and chemistry alone.
And beyond the plates themselves, what means the most is how Collective Types has grown through community – from friends lending a hand to neighbors sharing resources to people simply showing up with curiosity and support.
Alright so before we go can you talk to us a bit about how people can work with you, collaborate with you or support you?
The best way to support Collective Types right now is simply by being part of it.
I’m currently preparing to open my tintype studio in Winona this December, where people can schedule a session to sit for a portrait. Each session is slow and intentional – a chance to experience a piece of photographic history firsthand and walk away with an heirloom that will last for generations. You can find out more or book a session at www.collectivetypes.co.
For those interested in collaborations, I love connecting with local artists, makers, and community spaces that value craft and storytelling. Whether it’s through events, creative partnerships, or pop-ups, I’m always open to ideas that bring people together through art and shared experience.
You can also follow along and share on Instagram and Facebook @collectivetypes.co. This project has grown because of community, and I hope it continues to do the same.
Contact Info:
- Website: https://www.collectivetypes.co
- Instagram: https://www.instagram.com/collectivetypes.co
- Facebook: https://www.facebook.com/collectivetypes.co
- Other: Email: kelsa@collectivetypes.co
