Building a Type Set: How Angled Photography, Dansco Albums, and Smart Strike Selection Elevate Your Collection

Building a type set is the ultimate journey through history. Let’s look at the best way to represent this design in your collection.

There’s a moment every type set collector knows well. You pull a coin from a dealer tray, hold it under the light, and the surfaces come alive — golden hues, subtle violet undertones, a cartwheel that seems to spin right off the planchet. You buy the coin, bring it home, set it in your Dansco album, and then try to photograph it to share with fellow collectors online. The image comes back flat. Lifeless. The color that made you reach for your wallet simply vanishes in a straight-on shot.

This is a frustration I’ve heard echoed across numismatic forums for years, and it’s one I’ve experienced personally more times than I can count. The thread that inspired this article began with a collector named Jim and his 1913-S Type 1 Buffalo Nickel — a coin that looked magnificent in hand but refused to show its true character in conventional photographs. His solution? Angling the camera. And that simple spark ignited a wide-ranging discussion about numismatic photography, album selection, strike quality, and the philosophy of building a type set on any budget.

In this article, I want to pull all of those threads together into a practical guide. Whether you’re assembling your first Dansco 7070 or curating a world-class registry set, the principles are the same: choose the best strike you can afford, present it properly, and understand why certain coins demand — and deserve — a place in your collection.

The Photography Problem: Why Your Coins Look Better in Hand

Let’s start with the issue that opened the forum discussion, because it’s more than a photography problem — it’s a presentation problem, and presentation matters enormously when you’re building a type set.

Conventional (Axial) Photography and Its Limitations

The standard advice for coin photography is to position the light source directly above the coin, bouncing light perpendicularly off the surface and back into the camera lens. This is called axial photography, and in theory, it should capture every detail faithfully. In practice, as multiple forum members confirmed, it often falls flat — particularly for coins with natural toning or prooflike surfaces.

As collector Leo explained in the thread:

“Ideally, we want the light to bounce perpendicularly off the coin and back up into the camera lens. But this is impossible since the camera is in the way. There’s the axial photography method which I have tried and failed.”

The physics are straightforward: when light hits a coin’s surface at a perpendicular angle, it reflects directly back. For many mint-state coins with mirror fields, this produces a bright, washed-out image that obliterates subtle color. The very light that should be carrying the coin’s toning back to the sensor instead overwhelms it.

The Angled Photography Technique

Jim’s workaround — angling his cell phone camera relative to the coin — turned out to be a technique with deep roots in the hobby. Before Phil Arnold became the legendary guru behind PCGS TrueView, he pioneered angled photography methods that were discussed extensively on collector forums. The principle is elegant: by positioning the camera and light source at an angle (creating what Leo described as a “V” shape with the coin at the bottom point), you allow the reflected light carrying the coin’s color to enter the lens at an oblique angle, revealing toning that axial lighting simply cannot capture.

One collector in the thread described the setup succinctly:

“I angle the lights myself, but some use that technique with a piece of glass at an angle. It has a fancy name.”

That “fancy name” is essentially a form of reflected-light oblique illumination, and it’s the same principle behind darkfield microscopy. The angled approach sacrifices a bit of geometric accuracy (the coin can take on a slightly oval appearance) but gains enormously in color fidelity.

Practical Tips for Capturing Color

Based on the collective wisdom of the forum thread, here are actionable techniques for photographing toned coins for your type set records or sales listings:

• Use the whitest light possible. One collector who identified as an “angle toner” recommended fluorescent bulbs for their clean, neutral spectrum.
• Try a plastic slide from a Dansco album. One member suggested using the reflective plastic insert to bounce light onto the coin’s surface — thin enough to minimize distortion but reflective enough to enhance color.
• Experiment with a two-way mirror. Jim built a device using a two-way mirror and dedicated lighting. While he admitted the results were mixed, the principle of controlled reflected light is sound.
• Suspend a pane of glass above the coin. One advanced collector described a setup where the glass could be raised and lowered, with the bottom edge resting against a plastic filter pane to prevent sliding. This allows fine-tuning of the angle.
• Raw coins are easier than slabs. As one member noted, axial photography is “a pain, especially for scratched slabs.” If you’re photographing raw coins for your Dansco album documentation, you have more flexibility with lighting angles.
• Consider post-processing. Leo mentioned that photo editing software can correct the oval distortion inherent in angled shots, restoring the coin’s circular appearance while preserving the color captured by the oblique lighting.

For those who want to go deeper, Mike Goodm3’s Numismatic Photography book was recommended by multiple forum members as the definitive reference on the subject. It covers axial lighting, angled techniques, and everything in between.

Choosing the Best Strike for Your Type Set

Photography is ultimately about presentation, but the coin itself is what matters. And when you’re building a type set, one of the most consequential decisions you’ll make is which example of each design to include.

What Makes a “Best Strike” in a Type Set Context?

A type set, by definition, requires only one example of each major design. You don’t need every date and mint mark — you need the right coin. But what does “right” mean?

In my experience, the best strike for a type set is one that:

1. Fully represents the design intent. Every detail the engraver cut into the die should be visible. For a Buffalo Nickel, that means a complete horn on the bison and clear, separated letters in “FIVE CENTS.” For a Saint-Gaudens Double Eagle, it means sharp torch rays and distinct robe lines on Liberty.
2. Displays original, attractive surfaces. Bag marks, scratches, and cleaning lines detract from the design. A coin with clean, original surfaces — even at a slightly lower grade — often makes a better type set representative than a higher-grade example with distracting contact marks.
3. Shows honest color. This is where the photography discussion connects directly to collecting. Natural toning that enhances the design is a plus. Artificial toning or harsh, mottled patina is not. The 1913-S Type 1 Buffalo Nickel that Jim was photographing is a perfect example: the coin’s color was part of its appeal, and capturing that color accurately was essential to appreciating the coin.
4. Fits your budget without compromising the first three criteria. More on this below.

The Type 1 vs. Type 2 Buffalo Nickel: A Case Study

Jim’s 1913-S Buffalo Nickel is an excellent case study in type set decision-making. The 1913 Type 1 features the bison on a raised mound, while the Type 2 (introduced later in 1913) moved the bison to a flat field with “FIVE CENTS” recessed below. Both are required in a complete Buffalo Nickel type set.

The 1913-S Type 1 is a particularly desirable coin because:

• The San Francisco Mint produced it for only part of the year before switching to Type 2.
• It carries the “S” mint mark on the reverse, below the denomination.
• Well-struck examples with full horn detail and attractive toning are genuinely scarce.
• It represents a transitional moment in American coinage — the rapid redesign shows how quickly the Mint responded to practical concerns (the “FIVE CENTS” wore away too quickly on the Type 1).

When choosing between a heavily worn 1913-S Type 1 and a mint-state 1913 Type 1 from Philadelphia for your type set, the answer depends on your collecting philosophy. A budget collector might prefer the more common Philadelphia issue in AU. A high-end collector will seek the San Francisco example in MS-65 or better. Both are valid approaches.

Dansco Albums: The Backbone of Type Set Collecting

No discussion of type set building is complete without addressing the album itself. And for generations of American collectors, one name has dominated: Dansco.

Why Dansco Albums Dominate Type Set Collecting

Dansco albums have been the default choice for type set collectors for decades, and for good reason:

• Comprehensive coverage. Dansco offers albums for virtually every major U.S. type series — from the 7070 “U.S. Type Set” album (which holds one example of every major design from Half Cents through modern commemoratives) to specialized albums for Buffalo Nickels, Mercury Dimes, Walking Liberty Halves, and more.
• Clear date and mint organization. Each hole is labeled, making it easy to see at a glance which coins you still need.
• Protection. The plastic slides shield coins from dust, fingerprints, and handling damage — though, as we’ll discuss, they have limitations.
• Affordability. A Dansco 7070 album costs a fraction of what the coins inside it are worth, making it an accessible entry point for new collectors.

The Limitations of Dansco Albums

Despite their popularity, Dansco albums are not without drawbacks. Experienced collectors should be aware of the following:

• Slide marks. The plastic slides can slide across the surface of high-grade coins, creating hairlines over time. For coins graded MS-65 or above, consider using Mylar flips inside the album pages instead of relying on the slides.
• PVC concerns. Older Dansco albums (and some current budget alternatives) may contain PVC in the plastic, which can cause green, corrosive residue on coins over time. Always verify that your album is PVC-free.
• One-coin-per-hole limitation. Dansco type set albums are designed for one example of each type. If you want to collect major varieties (like the 1916-D Mercury Dime alongside the 1916 Philadelphia issue), you’ll need a separate album or a custom solution.
• Presentation. As the photography discussion highlighted, Dansco slides can actually be used as a lighting tool — but they can also obscure the coin’s appearance when viewed through the plastic. For display purposes, nothing replaces removing the coin and viewing it in hand.

Album Alternatives for the Serious Type Set Collector

For collectors who have outgrown Dansco or who want a more premium presentation, several alternatives exist:

• Whitman albums offer a similar slide-based system at a lower price point, though with less precise hole sizing for some issues.
• Capital Plastics holders provide individual, inert plastic capsules that can be stored in custom boxes — ideal for high-value type sets.
• PCGS or NGC registry sets allow you to build a virtual type set with certified coins, complete with photography and population data. This is increasingly popular among competitive collectors.
• Custom wooden display cases with individual coin compartments offer the most elegant presentation for a completed type set, though at significantly higher cost.

Budget vs. High-End Type Collecting: Finding Your Sweet Spot

This is perhaps the most important section of this article, because it addresses the question every type set collector faces: How much should I spend on each coin?

The Budget Type Set: Building History on a Realistic Budget

A budget type set is not a lesser type set. It’s a smart one. The goal is to acquire a representative example of every major design without overpaying for grade points that don’t matter for type purposes.

Here’s my recommended approach for budget type collecting:

1. Buy the lowest grade that still shows full design details. For most 19th-century and early 20th-century types, this means EF-40 to AU-58. At these grades, the coin’s major design elements are sharp, and the price is a fraction of mint-state examples.
2. Prioritize eye appeal over technical grade. A nicely toned AU-55 will look better in your Dansco album than a white, baggy MS-63. Collectors in the forum thread consistently emphasized that color and strike matter more than the number on the label.
3. Focus your spending on the key types. In a U.S. type set, the genuinely expensive coins are few: the 1804 Silver Dollar, the 1913 Liberty Nickel, the 1894-S Barber Dime. For the vast majority of types, attractive examples are available for under $100. Save your budget for the coins that truly demand it.
4. Buy raw when you can. For common types in circulated grades, raw coins are often better value than certified examples. You avoid grading fees and can select for eye appeal rather than relying solely on a numerical grade.
5. Be patient. The best budget type sets are built over years, not months. Wait for the right coin at the right price rather than settling for a mediocre example.

The High-End Type Set: Competing at the Registry Level

At the other end of the spectrum, high-end type set collecting is a competitive pursuit. Collectors build sets for the PCGS or NGC Set Registry, competing for the highest cumulative grade and the finest eye appeal.

Key principles for high-end type collecting:

• Every coin should be the finest you can afford. In a registry set, grade points matter. An MS-66 example will always outscore an MS-58, even if the lower-graded coin has better color.
• Certification is essential. Registry sets require certified coins. PCGS and NGC are the standard; ANACS and ICG are accepted but generally score lower in registry competitions.
• Eye appeal still matters. Both PCGS and NGC award “plus” designations and star ratings for exceptional eye appeal. A coin with a CAC sticker (Certified Acceptance Corporation) commands a premium and signals quality within a given grade.
• Photography becomes critical. Registry sets are judged partly on presentation. This is where the angled photography techniques discussed earlier become essential — you need images that capture the coin’s true color and surfaces.
• Expect to pay significant premiums for key dates. A 1909-S VDB Lincoln Cent in MS-67 Red will cost thousands. A 1914-D Lincoln Cent in the same grade will cost even more. Budget accordingly.

The Middle Ground: The “Best Coin I Can Afford” Philosophy

Most collectors fall somewhere between the budget and high-end extremes. My personal philosophy — and one I recommend to anyone building a type set — is to buy the best coin I can afford for each type, with “best” defined as the optimal combination of grade, strike, eye appeal, and originality.

This means:

• Spending $30 on a nicely toned VF-35 Large Cent (where that grade is more than adequate).
• Spending $500 on a mint-state Mercury Dime (where the design really shines in higher grades).
• Spending $2,000 on a gem Indian Head Half Eagle (where the incuse design demands a high grade to be fully appreciated).

The beauty of this approach is that it scales to any budget. A collector with $5,000 to spend can build a stunning type set. A collector with $50,000 can build a world-class one. The principles are identical; only the grade levels change.

Putting It All Together: A Type Set Action Plan

Let me pull everything we’ve discussed into a concrete action plan for building your type set:

1. Choose your album. Start with a Dansco 7070 if you’re building a complete U.S. type set, or a specialized Dansco album for your preferred series. Upgrade to Capital Plastics or a registry set as your collection matures.
2. Define your budget and grade targets. Decide whether you’re building a budget, mid-range, or high-end set. Write down your target grade for each type and stick to it.
3. Prioritize strike and eye appeal. For each type, seek the best-struck, most original example within your budget. A coin with full design details and natural toning is always preferable to a higher-grade coin with weak strike or impaired surfaces.
4. Learn to photograph your coins. Experiment with angled lighting techniques to capture the color and luster that make your coins special. Use the tips from this article — white fluorescent light, plastic slide reflectors, oblique camera angles — to document your collection accurately.
5. Buy slowly and deliberately. Don’t fill holes in your album just to fill them. An empty hole is better than a coin you’re not proud of. Wait for the right example.
6. Engage with the community. Share your coins on forums, attend shows, and learn from other collectors. The discussion that inspired this article is a perfect example of how much knowledge exists within the collecting community — from Phil Arnold’s pioneering photography techniques to the practical advice shared by experienced collectors like Jim, Leo, and FlyingAl.

Conclusion: The Type Set as a Living Document

A type set is more than a collection of coins. It’s a curated journey through the history of American (or world) coinage, with each coin representing a moment in time — a design decision, a technological innovation, a cultural shift. The 1913-S Type 1 Buffalo Nickel in Jim’s collection isn’t just a coin; it’s a snapshot of the U.S. Mint in transition, a design that lasted mere months before being revised for practical reasons.

The way we photograph, house, and select those coins reflects our values as collectors. The angled photography technique that Jim discovered isn’t just a workaround for a camera limitation — it’s a recognition that coins are three-dimensional objects with color and life that demand creative presentation. The Dansco album isn’t just a storage solution — it’s a framework for organizing history in a coherent, accessible way. And the decision to buy the best strike you can afford, whether that means a $15 AU or a $15,000 MS-67, is a statement about what matters to you as a collector.

Building a type set is a lifelong pursuit. It evolves as your knowledge deepens, your budget grows, and your eye matures. The coins you select today may be upgraded tomorrow, and that’s not a failure — it’s progress. The empty holes in your album aren’t gaps; they’re invitations.

So pick up your camera, angle the light, and start capturing the coins that tell the story of history. Your type set is waiting.

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