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positive image on the plate, although laterally reversed (left and right would be reversed, like in a mirror). When coated on glass, the image becomes negative and can be reproduced easily on photographic paper. This was a huge advantage over the daguerreotype, which was not directly reproducible. Wet plate/collodion is also a relatively inexpensive process compared to its predecessor, and does not require polishing equipment or the extremely toxic fuming boxes needed for the daguerreotype. With glass as the medium, the cost per image was also far less than special silver-plated copper plates, and more durable than paper negatives. The process was also very fast for the time, requiring only a few seconds to expose an image in daylight, rather than 30 seconds or more for other forms of photography available in the mid-1800s.
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453:. In the wet collodion process, silver nitrate reacted with a halide salt; potassium iodide, for example. This resulted in a double replacement reaction. The silver and iodine ions in the solution reacted, forming silver iodide on the collodion film. However, at the same time, potassium nitrate also formed, from the potassium ions in the iodide and the nitrate ions in the silver. This salt could not be removed in the wet process. However, with the emulsion process, it could be washed out after the creation of the emulsion.
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473:, uses collodion emulsion from an underexposed image that is transferred to a dark surface so that transparent (unexposed) areas appear black and weak precipitated silver (highlights) appear brighter in reflected light, on the same principle as the daguerreotype and ambrotype. It was invented in 1852 by French photographer Jean Nicolas Truchelut, a pupil of Louis Daguerre and an itinerant daguerreotypist. Similar images on black waxed linen were displayed at the
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122:, was in limited use for casual portraiture by some itinerant and amusement park photographers as late as the 1930s, and the wet plate collodion process was still in use in the printing industry in the 1960s for line and tone work, mostly printed material involving black type against a white background because, in large volumes, it was much cheaper than gelatin film.
138:. Fine art photographers use the process and its handcrafted individuality for gallery showings and personal work. There are several makers of reproduction equipment, and many artists work with collodion around the globe. The process is taught in workshops around the world and several workbooks and manuals are in print. Modern collodion artists include:
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Despite its disadvantages, wet plate collodion became enormously popular. It was used for portraiture, landscape work, architectural photography, and art photography. The largest collodion glass plate negatives produced in the nineteenth century were made in Sydney, Australia, in 1875. They were made
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In 1864 W. B. Bolton and B. J. Sayce published an idea for a process that would revolutionize photography. They suggested that sensitive silver salts be formed in a liquid collodion, rather than being precipitated, in-situ, on the surface of a plate. A light-sensitive plate could then be prepared by
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Bayliss and
Holtermann produced four known glass negatives all of which were taken from Holtermann's purpose-built camera in the tower of his mansion in North Sydney. Two were 160 x 96.5 cm (5.1 ft x 3.08 ft) and formed a panorama of Sydney Harbour from Garden Island to Miller's Point. The other two
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patented a version on black leather in 1857 to create an unbreakable photograph that could be sent by mail. Various practitioners formulated, and some patented, their own recipes with the aim of good adhesion, but a disadvantage of using such supports was that flexing of the surface caused cracking
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The wet collodion process had a major disadvantage. The entire process, from coating to developing, had to be done before the plate dried. This gave the photographer no more than about 10-15 minutes to complete everything. This made it inconvenient for field use, as it required a portable darkroom.
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This idea was soon brought to fruition. First, a printing emulsion was developed using silver chloride. These emulsions were slow, and could not be developed, so they were mostly used for positive printing. Shortly later, silver iodide and silver bromide emulsions were produced. These proved to be
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for use in the field. Collodion is normally used in its wet form, but it can also be used in its dry form, at the cost of greatly increased exposure time. The increased exposure time made the dry form unsuitable for the usual portraiture work of most professional photographers of the 19th century.
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Many methods worked to an extent; they allowed the plate to be exposed for hours, or even days, after coating. They all possessed the chief disadvantage, that they rendered the plate extremely slow. An image could require anywhere from three to ten times more exposure on a dry plate than on a wet
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was credited with the invention of the process, which he created in 1848 and published in 1851. During the subsequent decades, many photographers and experimenters refined or varied the process. By the end of the 1860s, it had almost entirely replaced the first-announced photographic process, the
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As with all preceding photographic processes, the wet-collodion process was sensitive only to blue and ultraviolet light. Warm colors appear dark, cool colors uniformly light. A sky with clouds is quite difficult to render, as the spectrum of white clouds contains about as much blue as the sky.
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is a sticky and transparent medium and can be soaked in a solution of silver nitrate while wet, it is ideal for coating stable surfaces such as glass or metal for photography. When a metal plate is coated with collodion, charged with silver nitrate, exposed, and developed, it produces a direct
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of silver halides suspended in gelatin. Invented by Dr. Richard Leach Maddox in 1871, dry gelatin emulsion was not only more convenient, but it could also be made much more sensitive, greatly reducing exposure times. This marked the beginning of the modern era of photography.
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Emulsions created in this manner could be used wet, but they were often coated on the plate and preserved in similar ways to the dry process. Collodion emulsion plates were developed in an alkaline developer, not unlike those in common use today. An example formula follows.
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The speed of the emulsion process was unremarkable. It was not as fast as the ordinary wet process, but was not nearly as slow as the dry plate processes. Its chief advantage was that each plate behaved the same way. Inconsistencies in the ordinary process were rare.
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To wash, the emulsion is poured into a dish and the solvents are evaporated until the collodion becomes gelatinous. It is then washed with water, followed by washing in alcohol. After washing, it is redissolved in a mixture of ether and alcohol and is then ready for
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Typically, methods involved coating or mixing the collodion with a substance that prevented it from drying quickly. As long as the collodion remained at least partially wet, it retained some of its sensitivity. Common processes involved chemicals such as
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The silver nitrate bath was also a source of problems. It gradually became saturated with alcohol, ether, iodide and bromide salts, dust, and various organic matter. It would lose effectiveness, causing plates to mysteriously fail to reproduce an image.
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The wet plate process is used by a number of artists and experimenters who prefer its aesthetic qualities to those of the more modern gelatin silver process. World Wet Plate Day is staged annually in May for contemporary practitioners.
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collodion process, which could be exposed and developed sometime after coating. A large number of methods were tried, though none were ever found to be truly practical and consistent in operation. Well-known scientists such as
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Lemons and tomatoes appear shiny black, and a blue and white tablecloth appears plain white. Victorian sitters who in collodion photographs look as if they are in mourning might have been wearing bright yellow or pink.
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process, mostly synonymous with the "collodion wet plate process", requires the photographic material to be coated, sensitized, exposed, and developed within the span of about fifteen minutes, necessitating a portable
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winning photojournalist and contemporary collodion wet plate artist
Charles Mason finds an artistic appeal in the uncertainty of the results of a wet plate photograph that cannot be recreated with modern
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A portable photography studio in 19th-century
Ireland. The wet collodion process sometimes gave rise to portable darkrooms, as photographic images needed to be developed while the plate was still wet.
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Below is an example of the preparation of a collodion emulsion, from the late 19th century. The language has been adapted to be more modern, and the units of measure have been converted to metric.
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and flaking of the emulsion so few historical examples survive. The process continued to be used until the 1880s but was being gradually displaced by the more durable tintype from the 1860s.
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When needed for use, mix 0.37 ml of A, 2.72 ml of B, and 10.9 ml of C. Flow this over the plate until developed. If a dry plate is used, first wash the preservative off in running water.
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The plate dripped silver nitrate solution, causing stains and potentially explosive build-up of nitrate residue in the camera and plate holders.
353:. Mason says "If you plan it, then it becomes contrived, If you just let it happen, it's the gods helping you out." In 2018 Mason completed an
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Monovisions - Black & White
Photography Magazine, "Interview with Wet Plate Collodion photographer Nadezda Nikolova-Kratzer" June 2015,
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The wet plate collodion process has undergone a revival as a historical technique in the twenty-first century. There are several practicing
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were 136 x 95 cm (4.4 x 3.1 feet) and were of the
Harbour and Garden Island and Longnose Point. Three of the four are now held by the
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are dissolved in 7.4 ml of water. 29.6 ml of alcohol are added. This is then poured into the other half of the collodion; the
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1267:. (1875, December 11). Illustrated Sydney News and New South Wales Agriculturalist and Grazier (NSW : 1872 - 1881), p. 3
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The collodion process produced a negative image on a transparent support (glass). This was an improvement over the
950:"Photographer coming to Hawai'i will capture islands' roller derby culture with classic style | Kauai Now"
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first theorized about the collodion process, publishing a method in 1850 that was "theoretical at best", but
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North Sydney and Sydney
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simply flowing this emulsion across the surface of a glass plate; no silver nitrate bath was required.
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The extreme inconvenience of exposing wet collodion in the field led to many attempts to develop a
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Focal encyclopedia of photography: digital imaging, theory and applications, history, and science
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Various substrates were tried including wood, and
Australian photographers Alfred R. Fenton and
1242:. (1875, November 9). Evening News (Sydney, NSW: 1869 - 1931), p. 2. Retrieved November 4, 2018
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Charles Mason – Saga of the
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and other special applications where minutes-long exposure times were tolerable.
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Animation illustrating the detail found in a wet-collodion photograph taken in
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Eastman House "The Collodion Process – Photographic Processes"
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significantly faster, and the image could be brought out by development.
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https://monovisions.com/interview-with-nadezda-nikolova-kratzer/
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During the 1870s, the collodion process was largely replaced by
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is similar to a wet plate image but has substantial differences.
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where he produced 24 collodion wet plate images of the park.
1014:"Wet Plate Collodion Portraiture - Samuel Dole Photography"
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are dissolved in 29.6 ml of alcohol. Four or five drops of
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are added. This is added to half the collodion made above.
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Secrets of the dark chamber: being photographic formulae
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The emulsions also had the advantage that they could be
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Photographic processes dating from the 19th century
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1588:Getting Started In Wetplate Collodion Photography
1220:"Collodion photography: self-portrait in cyanide"
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1163:Surf Site Tin Type, 2015, Damiani Editore, Milan
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694:collodion is dropped in, slowly, while stirring.
652:Collodion § Wet-plate collodion photography
328:with the help of a wealthy amateur photographer
43:Ministry of Education, Culture and Sport (Spain)
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67:The use of the dry form was mostly confined to
437:using the bleached collodion positive process.
1593:Old Photography Process: Collodion Wet Plate
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1466:: CS1 maint: multiple names: authors list (
1549:The Getty Museum: The Wet Collodion Process
1426:Eder, Josef Maria, Epstean, Edward (1945).
386:attempted but never met with good results.
1326:"Charles Mason: Denali through Collodion"
1255:(commonly known as Shore or Shore School)
638:Learn how and when to remove this message
536:Learn how and when to remove this message
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1625:Alternative photographic processes
1561:Step by Step Wet Plate Photography
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838:(4th ed.). Amsterdam: Focal.
508:tone or style may not reflect the
365:Search for a dry collodion process
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187:Paul d'Orléans / Susan McLaughlin
1118:"Chris Morgan, Collodion Artist"
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27:Early photographic technique
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1374:"Striving for imperfection"
1350:"Striving for imperfection"
1199:"PBS: Capturing the moment"
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1174:"Process/Artist Statement"
1054:. National Maritime Museum
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1074:"MotoTintype | HOME"
1052:"Jack Lowe and the RNLI"
330:Bernhard Otto Holtermann
1240:HOLTERMAN'S PHOTOGRAPHS
422:British veteran of the
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1265:BERNARD OTTO HOLTERMAN
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359:Denali National Park
1583:World Wet Plate Day
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756:August Semmendinger
718:96 g, alcohol 1 oz.
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587:"Collodion process"
355:artist-in-residency
351:digital photography
346:Oskar Barnack Award
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1598:2019-10-04 at the
1576:2019-05-28 at the
1554:2014-10-19 at the
1102:'The Alchemists',
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126:21st century
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55:photographic
53:is an early
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681:nitric acid
431: 1860
400:tannic acid
207:Sean Peeler
179:Jolene Lupo
156:John Coffer
1609:Categories
1491:2021-10-25
1454:1104874591
1407:2022-10-26
1383:2022-10-26
1359:2022-10-26
1335:2022-10-26
1311:2022-10-26
1287:2016-03-23
1226:2013-03-14
1183:August 29,
1178:Meg Turner
1088:August 29,
1037:2024-07-23
1001:Ben Cauchi
910:2024-03-31
787:References
692:brominated
650:See also:
598:newspapers
237:Advantages
226:Meg Turner
218:Ian Ruhter
183:Sally Mann
173:Magda Kuca
149:Ben Cauchi
132:ambrotypes
1529:27 August
1462:cite book
954:Kauai Now
854:499055803
766:Collodion
751:Ambrotype
662:pyroxylin
467:phenotype
461:Phenotype
435:ambrotype
287:collodion
176:Jack Lowe
59:collodion
18:Wet plate
1596:Archived
1574:Archived
1552:Archived
761:Calotype
740:See also
728:Part C:
721:Part B:
714:Part A:
392:glycerin
272:calotype
266:in 1872.
264:Hill End
232:Em White
162:Sam Dole
64:darkroom
1507:The Age
1402:uaf.edu
985:14 June
959:14 June
934:12 June
781:Tintype
666:alcohol
612:scholar
471:tintype
410:plate.
404:albumen
120:tintype
75:History
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850:OCLC
840:ISBN
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