http://unblinkingeye.com/Articles/WPC/WPC3/wpc3.

html

Getting Started In Wetplate Collodion Photography

By Joseph Smigiel

Fig. 1 An original 1/6th-plate ambrotype, c. 1860.

Historically, the popularity of the wetplate process was short-lived. From its invention by Frederick Scott Archer in 1851 the process flourished until the introduction of dry plates in the early 1880s. The process was safer and more convenient than its predecessor the Daguerreotype, and much sharper than its contemporary the Calotype, but wetplate collodion still required the proximity of a darkroom and the preparation, exposure, and processing of the plate all within a matter of minutes. The convenience of dry plates which could be prepared in advance and processed long after exposure quickly led to the abandonment of the wetplate process by most studio and location photographers. Its use did continue for a while longer by street photographers doing tintypes, and this practice even continues today in some developing countries. Today, a wetplate revival is occurring, sparked largely through interest in Living History and the imaging revolution centered around digital technology. As journalistic, commercial, and amateur photography markets have shifted towards digital, fewer conventional products remain available. This shift has led some art photographers to rediscover the beautiful wetplate collodion process. Aside from the ever-present safety issues of the process, having a darkroom nearby is the largest hurdle to overcome when attempting wetplate collodion. For those with convenient access from studio to darkroom, the problem is minimized. For fieldwork, another solution must be worked out and this generally takes the form of a portable darkbox or darktent that accompanies the itinerant photographer. Some modern workers have also converted SUVs or enclosed trailers into mobile darkrooms. Ive gone so far as to convert an old Class-C motorhome into one. BEFORE ATTEMPTING WETPLATE COLLODION PHOTOGRAPHY, BE SURE TO FAMILIARIZE YOURSELF WITH THE CHEMICAL HAZARDS ASSOCIATED WITH THIS PROCESS. SEVERAL CHEMICALS USED IN THE PROCESS ARE EXTREMELY HAZARDOUS, EXTREMELY POISONOUS, CARCINOGENIC, EXTREMELY FLAMMABLE, AND/OR POTENTIALLY EXPLOSIVE.

BEFORE ATTEMPTING THIS PROCESS, READ THE MSDS INFORMATION AND SEEK COUNSEL FROM TRAINED PROFESSIONALS (CHEMISTS, HAZARDOUS MATERIAL HANDLERS, SPECIALIZED PUBLIC SAFETY OFFICERS, ETC.) WHO ARE FAMILIAR WITH PROPER HANDLING AND DISPOSAL OF THESE CHEMICALS. THE AUTHOR AND PUBLISHER OF THIS ARTICLE DO NOT ACCEPT ANY RESPONSIBILITY OR LIABILITY RESULTING FROM ERRORS, OMISSIONS, OR THE IMPROPER USE OF THESE CHEMICALS BY OTHER INDIVIDUALS. USE OF ANY CHEMICAL MENTIONED IN THIS ARTICLE IS AT YOUR OWN RISK.

My Introduction to Wetplate Collodion

A few years ago a major manufacturer of photographic supplies announced the discontinuance of my favorite 35mm film and the photographic paper I used almost exclusively for my work. This was shortly followed by the elimination of my favorite sheet film in the format I use most frequently. With that emulsion also unavailable at the time in the ULF format I use, and my general disinterest in the rising digital imaging technologies, I decided to become more self-reliant in regard to photographic materials. With a longstanding interest in alternative photographic processes, producing work in media such as Van Dyke Brown, gum bichromate, and the POP/albumen/salted paper process offered familiar means to produce personal photographic prints independent of the photo factory. However, the camera emulsion choice remained problematic. Would every film I chose soon be discontinued or rendered useless for alternative printing due to improvements in the manufacturing process as several popular sheet films had suddenly been subject? It was about this time that I happened upon a short online PBS video of Sally Mann discussing the wetplate collodion process. I was enthralled as she demonstrated working the process in the field out of the back of her SUV. Her movements appeared ritualistic as she held a glass plate to the sky and coated it with the syrupy collodion solution. She talked reverently of learning the process from a master, Mark Osterman of the George Eastman House. I sensed there was a modern heritage forming and I knew at that moment I wanted to become part of the modern-day wetplate revival and its legacy.

Fig. 2 A black glass ambrotype portrait of John Coffer holding a 20x24 steel tintype sheet.

I began gathering all I could read on the subject and found several workshop possibilities. It quickly became apparent that most workshop leaders had learned the

process from either Mark and France Osterman, or from John Coffer (Figure 2), himself a friend of early wetplate revivalists George Berkhofer and John Hurlock. The modern web of wetplate practitioners radiate from this central core of individuals who continue to practice wetplate, teach, and publish relevant to the field. For my initital workshop, I chose to study with NY fashion photographer Michael Mazzeo at Peters Valley Craft Center in the Delaware Gap region of New Jersey. Michael received his tutelage from both the Ostermans and John Coffer. Michael ran us through the fundamentals of chemical formulation, safety, glass preparation, and finally, the chemical steps involved in sensitizing, exposing and processing the wet plates. Now I was really hooked. PVCC provided a great workshop teacher, a wonderful setting in the Poconos, great food, and the opportunity to network with some extremely talented artists. After some moderate success at the PVCC workshop I continued to practice my technique and began to get images I enjoyed. I had heard so much by now about John Coffer that I decided to do a follow-up workshop with the Grand Master. Armed with a bit of previous experience, John quickly helped me refine and simplify my technique. He was also a great host on his farmstead in the Finger Lakes district of New York State. I had a great time learning from John and returned later in the year to his Tintype Jamboree, an annual gathering of practicing wetplaters from around the globe. Most experienced wetplaters recommend purchasing a basic instructional text (see bibliography), studying it intensely, and then seeking out a workshop from an experienced practitioner. I agree with that approach. While not particularly difficult, wetplate collodion is a very hands-on endeavor, and watching a master perform the steps really is the best way to learn the process. There are some subtleties to the process best learned from direct observation. And of course, workshops also tend to be a good place to network and meet people of like kind. The modern wetplate crowd certainly is diverse and interesting.

A Brief Overview of the Wetplate Collodion Process

While many variations exist with formulas, equipment, and technique, the wetplate collodion process generally entails the following: 1) The wetplate collodion process requires a working-strength salted collodion solution, a silver nitrate sensitizing solution, developer and fixing solutions, as well as varnishes and intensifying or reducing solutions. These baths should be prepared in advance. (Formulas for each are listed later in the article.) 2) Prepare a japanned steel or enameled aluminum metal plate, or clean a sheet of glass to act as a substrate for the collodion emulsion. 3) Pour the salted collodion onto the plate to cover it evenly with the emulsion, and drain the excess back into the pouring vessel. The collodion film will begin to set as the solvents evaporate from the surface. It is important to let the collodion set and form a skin for approximately 15-30 seconds before proceeding to the sensitization step. If the plate is placed in the sensitizing bath too soon, the collodion film will partially dissolve and be ruined. This will also contaminate and adversely affect the sensitizing bath. On the other hand, if the plate is withheld too long, the film will become impervious to further chemical action and will not sensitize or develop properly. The following two steps are done under deep amber or red safelight illumination:

Fig. 3 An open wetplate holder.

4) Immerse the plate into the silver nitrate sensitizing bath. Most sensitizing baths are housed in a lightproof box to enable the photographer to safely leave the darkroom once the plate is submerged in the tank. The plate needs to sensitize between 3-5 minutes on average. Sensitizing is sufficient when the silver nitrate flows off the surface of the plate uniformly without beading or forming irregular rivulets. Upon sufficient sensitization, the originally transparent collodion film will take on an opaque creamy appearance. 5) The sensitized plate is removed from the silver bath, the reverse carefully wiped to remove excess fluid, and then it is placed in a special lightproof wetplate holder (Figure 3). Note that the plate is placed in the holder and exposed while it is wet (hence the name wetplate collodion). The photographer usually has a 5-10 minute window from the time the plate is removed from the sensitizing bath through camera exposure and darkroom development before the emulsion solvents (ether and grain alcohol) evaporate and the collodion film becomes impervious to the processing solutions. This timeframe varies with heat and humidity as well as the particular collodion formula used. 6) The plate holder is brought to the camera which has been previously set-up in regard to framing and focusing on the subject. The subject should be illuminated by UV rich sources (e.g., northern skylight, sunlight, fluorescent lamps, etc.). The sensitivity of the plate will extend from UV through blue wavelengths. The spectral sensitivity may be extended slightly through the use of various halogen salts in the collodion formulas. 7) An exposure is made and the darkslide replaced. Due to the low sensitivity of collodion, exposures may run into seconds outdoors during daylight hours. Because collodion is primarily sensitive to ultraviolet radiation and because it is relatively insensitive to light, exposure meters are generally not used and exposures are determined by trial-and-error at first, and then by experience later on. Plates destined to become negatives should receive at least 1 stop more exposure than their positive counterparts. (Negatives are also typically developed for a longer time in weaker, less active developers.) 8) The plate holder is returned to the darkroom for processing. The following steps again require deep amber or red safelight illumination:

9) The exposed plate is removed from the holder and is either transferred to a development tray, or, more commonly, the plate is held horizontally in ones hand. 10) A minimum volume of developer solution (see ferrous sulfate formulas) is poured over the plate and development is timed to about 15 seconds for positives, or 90 seconds for glass negatives. (Exposure of subsequent plates is adjusted to bring the plate development times into these ranges.) 11) Water is flowed over the developed plate until all traces of developer have been removed. This may be done by rinsing the plate in hand or in a tray with several changes of water until the water flows off the plate uniformly without forming rivulets or streaks on the collodion surface. It is now safe to bring the plate into normal lighting conditions. 12) The plate is fixed for twice the time it takes to clear in a solution of either sodium (hypo) or ammonium thiosulfate (rapid fixer), or a weak solution of potassium cyanide (KCN). Note that potassium cyanide is a deadly poison and special care must be taken when using this chemical. It must not be ingested nor come into contact with broken skin, and the mixture of any acid (such as found in the developer) with the KCN solution generates lethal hydrogen cyanide gas. The latter is the chemical used in the gas chambers during the Holocaust of WWII. Small amounts of hydrogen cyanide gas will be continually released from potassium cyanide solutions, and when (and if) detected has an odor similar to roasted almonds. This chemical should be used only in well-ventilated areas. KCN imparts a slightly warmer coffee-and-cream color to the plate, works faster, washes out easier, and produces a slightly brighter positive image with a bit more contrast. However, due to its extreme toxicity, the difficulty in obtaining it, and the special precautions needed to safely handle and dispose of this chemical, I do not recommend its use by anyone learning the process. Beautiful results may be obtained using conventional thiosulfate fixers. 13) The plate is washed in several gentle changes of water over a period of several minutes to remove the fixer. 14) The plate is dried either passively in a drying rack or slowly over the gentle heat of a paraffin lamp. 15) A protective varnish is poured over the dried plate, the excess drained, and the varnish solvent evaporated by slowly heating the plate evenly over a paraffin lamp. 16) Finished plates are generally sealed under glass in protective frames or cases. Ambrotypes on transparent glass will need to be backed with a dark material in order to produce the characteristic optical reversal to a positive image.

The Wetplate Collodion Darkbox and Other Specialized Equipment

Fig. 4 A conventional 5x7 sheet film holder converted to wetplate use.

In addition to items such as trays, mixing graduates, and other equipment commonly used in photographic darkrooms, the wetplate process requires a few specialized items.

Though modern view cameras can be retrofitted with special wetplate backs and plate holders, it is also possible to adapt dryplate holders or modern sheet film holders for use with the process (Figure 4). The latter will work to get one started using the process without investing a great deal of money on wetplate camera equipment. But, it is probably best to eventually invest in a dedicated wetplate back and holder for reasons of convenience of operation and to help maintain the condition of favorite cameras. Silver nitrate dripping from the sensitized plates will stain and eventually corrode camera parts and lightrap materials.

Fig. 5 An inexpensive Kodak Brownie 3B box camera adapted for -plate wetplate use.

Inexpensive antique Brownie box cameras and modern Holga toy cameras may also be used with surprising results. The Brownie cameras exhibit remarkable sharpness and picture quality. Modifying a Brownie camera is very simple (Figure 5). Note that only metal plates can be used in these simple cameras. Glass plates are too thick and prevent the camera backs from closing correctly. Collodion and ether will dissolve some plastics. Therefore, glass graduates as well as funnels and storage and mixing vessels should be used for the collodion and ether solutions. (Conversely, potassium cyanide, if used in the process, should never be stored in glass containers.) In addition to avoiding plastics with the ether and collodion solutions, neither should ever be poured down a sink drain. Ether fumes in municipal sewer systems would present a danger and any collodion could congeal and clog plumbing very efficiently.

Fig. 6 A handmade acrylic chemical tank and plate dipper.

For the sensitizing and fixing steps, most wetplaters use specially constructed tanks instead of darkroom trays (although the latter may be employed). These tanks are fairly easy to construct from acrylic sheet. The silver sensitizing tank is usually housed in an inclined lightproof box or outer shell to prevent exposure of the plate. A dipper made

from acrylic is also used to lower and raise the coated plates into these baths (Figure 6). For reenactors concerned with period correctness, glass tanks are usually employed instead of modern plastics.

Fig. 7 A helper tray made of cast acrylic sheet used for developing wet collodion plates.

Helper trays (Figure 7) made of acrylic may be used to facilitate development of the exposed plates. These handmade trays help minimize spillage of chemical solutions poured onto the plates during processing. Many wetplaters prefer to simply hold the plates in hand during processing. With practice, the latter method tends to produce higher quality results and minimizes solution volumes used. Too much developer poured too rapidly in one area of the plate may physically remove the emerging image.

Fig. 8 A handmade acrylic tank that doubles as a plate washer and storage tank.

Specially constructed plate boxes and drying racks are useful items to have on hand. Plate boxes may be fabricated from both wood and acrylic (Figure 8). The acrylic ones double as a wash tank and are useful for transporting wet plates home from the field for further processing when time or resources in the field are restrictive. Conventional black plastic darkroom papersafes may also be used to transport large wet plates home. The papersafes are stackable and hold sufficient solution to prevent the plates from dessicating and becoming impervious to further processing. Other workers construct special trays for glycerizing plates in the field to prevent dessication. Information on that process can be found in most texts devoted to wetplate work. Drying racks turn up in flea markets and antique shops at reasonable prices or they may be purchased new from a couple of wetplate camera sources. Though I havent tried them, I imagine commom kitchen dish racks of similar design could be used for drying photographic plates. Speaking of kitchen stuff, obtain a 3-minute egg timer for monitoring plate sensitization.

Fig. 9 A lightproof tent of my own design.

Fig. 10 The interior of the darktent.

A hydrometer is used to measure the specific gravity of the silver sensitizing bath in order to keep it replenished correctly. As plates are run through the tank, silver is combined with the iodide and bromide salts in the collodion film. This reaction causes the silver bath to weaken in strength thus requiring replenishment. The hydrometer helps bring the solution back to proper strength. Due to the constant release of ether and alcohol as well as salts coming off submerged plates into the silver solution, the specific gravity changes due to these contaminants. The bath will never be as pure as it was initially, but the hydrometer at least provides some useful feedback. Expensive lab hydrometers are not needed and may actually complicate the measurement process. Hydrometers of sufficient accuracy may be purchased at aquarium supply shops as well as stores that sell brewery supplies. Finally, a portable darkroom is needed for most location work. Lightproof tents are one option, but they tend to be expensive to commission and bulky to use with an investment in time to set up (Figures 9 & 10). On the other hand, those with carpentry skills and a few tools will find construction of a collodion darkbox an easy weekend project. Designs vary and include the plans found in John Coffers Doers Guide for period darkboxes, manufactured designs available from the Star Camera Company, and individualized darkboxes such as the one I constructed. My darkbox is a Transformer-like thing on wheels incorporating a sensitizing tank dropped through the base of the box to allow large 10x12 plates to be sensitized within the small suitcase-sized enclosure (Figures 11, 12, & 13).

Fig. 11 Using a portable wetplate darkbox on location.

Fig. 12 A dimensional diagram (side view) of the homemade darkbox shown in Fig. 11.

Click images to see larger version and more information.

Fig. 13 My portable darkbox in the transport configuration.

Preparation of the Plate

Fig. 14 The ambrotype effect.

Japanned metal plates (steel sheets coated with baked ashpaltum) were used historically to create inexpensive positive collodion images known as tintypes or more properly, ferrotypes. While Civil War Reenactors strive to attain period correctness in equipment and materials by making genuine ferrotypes, preparation of authentic japanned plates is time-consuming and messy. As a result, many modern wetplaters use prepared blackenameled sheets of aluminum as the image substrate. Extremely convenient and inexpensive, the aluminum plates can be cut to size by suppliers such as Main Trophy Supply. The aluminum plates have a thin cellophane-like cover that is peeled immediately before pouring the collodion. This greatly reduces dust and resultant artifacts on the finished plates. Due to the thinness of the material, images made on metal sheets are generally backed by a tablet of glass in the plate holder. This glass backing-sheet prevents the spring holding the collodion plate to the focal plane from bending the metal sheet and throwing it out of focus. Sheets of glass are also used to make positive collodion images known as ambrotypes, as well as glass negatives from which prints can be made. The difference between the two variations depends on the density of the image. Ambrotypes are really underexposed collodion negatives that reverse their tonality when backed by a dark material or when made on dark colored glass (i.e., ruby ambrotypes, Figure 14). Collodion negatives and positives are virtually grainless.

Fig. 15 A handle-mount glass cutter and glass pliers recommended for dimensioning glass plates.

The initial preparation of the glass involves cutting the plates to size and then sanding or using a whetstone to dull the edges of the plate (Figure 15). The roughening should result in an approximate angle of 45 for the glass edge around the surface to be coated. This abrasion serves two purposes. First, it minimizes the hazard of cutting the skin on sharp edges of glass. (And this is particularly important to avoid if the photographer uses potassium cyanide as the fixer.

Sharp or broken glass and a lethal chemical is a recipe for disaster. Additionally, if potassium cyanide is used as the fixer, it should never be stored in glass containers.) Second, the roughened edge helps adhere the collodion to the slick glass surface. The glass used for ambrotypes or negatives must be immaculately clean in order to prevent image artifacts and peeling of the film. The glass is typically cleaned using a solution comprised of whiting or rottenstone (both varieties of fine calcium carbonate) mixed in a solution of alcohol and water. A bit of solution is poured onto the plate and rubbed around to remove oil and dirt on the glass. Care must be taken to remove all traces of this alkaline cleaning solution to prevent contamination of the expensive silver nitrate sensitizing solution. I like to use small lintless PEC Pads to clean the plates. These special pads will clean many plates before they need to be discarded. Some collodion formulas containing cadmium bromide and/or cadmium iodide are tender and tend to lift from the surface of the plate. Adding a subbing to the surface helps prevent this defect. The most common subbing is egg albumen mixed with a small amount of water and spread about 1/8 in from the edge of the plate with a cotton swab. Immediately before coating the glass plate with collodion, the surface should be brushed to remove ubiquitous dust.

Pouring the Collodion

The use of thin, chemically-resistant gloves is strongly recommended when pouring the collodion, in subsequent steps involving sensitizing the plate in silver nitrate, and additionally throughout the development process. Wetplate is historically referred to as The Black Art due to the silver nitrate stains that identified early practitioners. In addition to the staining potential, silver nitrate is corrosive and may cause blindness if concentrated solutions are accidentally splashed into the eyes. Because of these hazards, the use of chemically resistant gloves and protective goggles is recommended when handling this chemical. Pouring the collodion properly is a skill that comes with some practice. Novice wetplaters have a tendency to use insufficient collodion solution in their initial pours. Too little solution causes irregular coatings and blank islands lacking emulsion on the finished plates. It is far better to use too much collodion and have some spill over the edge of the plate than to use too little. Collodion has the approximate viscosity of warm maple syrup or cream and practice with such a substance can safely and inexpensively facilitate the learning process.

Fig. 16 The waiter tray method.

Pouring the collodion can be done in normal illumination in proximity to the darkroom or darkbox. However, I find it easier to pour in the darkbox. To pour the collodion properly, the plate is held as horizontal as possible using one of several methods. For small plates, it is probably easiest to pinch one corner between thumb and forefinger and pour the solution with the other hand. For moderate size plates, the waiter tray method supporting the plate from below may be best approach (Figure 16). With larger, heavier plates, a combination of one of the two previous methods while supporting the opposite corner on a table may be required. When coating the surface should have a fairly large pancake-like pour of collodion in the center of the level plate. The plate is then gently inclined towards the photographer so

that the fluid moves towards the near corner without flowing off the edge or touching the fingers holding the plate. Once the near corner is covered sufficiently, the plate is gently inclined to the adjacent nearest corner, then downward to the third corner, and finally to the pour-off corner. As the fluid approaches the last corner, the plate is quickly turned near vertical with the final corner placed inside a vessel used for containing the solution. The plate is rocked back and forth while the collodion drains into the collection bottle. This helps minimize lineations and irregular thicknesses in the collodion film. The entire coating operation should only take a few seconds to complete. With larger plates, it may be necessary to add additional solvent (ether or grain alcohol) to the formula in order to facilitate pouring and delay the setting up of the collodion film prematurely. Youll notice that solvents are continuously evaporating from the plate once the pour begins. Evidence for this evaporation is found in the obvious ethereal fumes and the rapid cooling of the plate in hand.

Ether Hazard

To minimize the evaporation of solvents from the storage vessel, be sure to cap the bottles as soon as possible. Also, be sure to perform this coating step far away from any flame or ignition source as the collodion/ether fumes when concentrated can be dangerously explosive. Ether has a low flash point and becomes ignitable at concentrations as small as 1.9% of the total air volume. Use the collodion only in well-ventilated areas (outdoors or indoors with proper explosion-proof ventilation systems specifically engineered to safely eliminate volatile hazardous fumes). Ether is also heavier than air and so fumes may sink to the ground surface and travel some distance before dissipating. For this reason, it is imperative to store and handle ether and collodion away from ignition sources such as water heaters, furnaces, surfaces radiating heat, electric fans and other devices which may produce an ignition spark. Store these solutions outside of residences in cool, dark, and preferably explosion-proof cabinets or special laboratory refrigerators. It should also be noted that while the collodion and ether have a longer shelf life when refrigerated, such storage should only be done in explosion-proof refrigerators. Regular household refrigerators should not be used to store these potentially-explosive chemicals. Should fumes accumulate, any spark from the fan motor may ignite the concentrated fumes and cause an explosion. Also, because of its potential to form explosive peroxides, opened bottles of ether should be disposed of as soon as possible. Industrial and institutional guidelines generally recommend disposal of ether within 3-6 months of opening under optimum storage conditions. This assumes oxygen within the container has been minimized using glass marbles to displace any air within the storage vessel or by using a gas blanket specifically employed and formulated to displace air from the surface of the volatile fluid. Any ether stored beyond this timeframe should be considered dangerously suspect and handled only by individuals trained in the proper handling and disposal of explosive compounds. The addition of alcohol or special chemicals (e.g., antioxidant BHT) help stabilize ethyl ether and inhibit peroxide formation. To minimize any hazard associated with ethyl ether, it is best to purchase only small quantities that will be used immediately and not stored. Recent experiments by wetplate photographers indicate that grain or denatured alcohol may be substituted for any additional ethyl ether called for in various collodion formulae. Such substitutions eliminate the need to purchase and store ethyl ether and as a result, are strongly recommended for individuals practicing wetplate photography. Note however that denatured alcohol is poisonous and not suitable for consumption. Prolonged exposure to fumes of denatured alcohol should also be avoided for health reasons. Because of the health concerns associated with use of denatured alcohols, the more expensive 190 proof ethanol is recommended as a substitute for ethyl ether in collodion formulas. I do use denatured alcohols for cleaning labware, but I minimize my exposure to this chemical with good ventilation and I always wear chemical-resistant gloves when handling it.

Wetplate Collodion Formulas

Salted Collodion

Prepare the salted collodion by adding iodide and bromide salts, grain alcohol and ethyl ether to plain collodion. (Note: flexible collodion will not work. You must obtain and use Collodion USP in these formulations.) Most salted collodion solutions need to ripen for several days before use. For safety reasons, the substitution of 190 proof ethanol or denatured alcohol is sometimes recommended in these formulas in place of any additional ethyl ether. Since ethyl ether is extremely volatile, highly flammable, and potentially explosive, collodion formulas should be mixed and stored away from ignition sources (open flame, hot plates, electrical fans, etc.). In general, working collodion solutions contain approximately 1.5% bromide salt and slightly more than double that amount of an iodide salt. Common anions of these salts include potassium, ammonium, cadmium, lithium, zinc, or sodium ions. Collodion formulas containing only potassium bromide and potassium iodide salts will clear quickly and be ready to use the same day, but their keeping properties are reduced. On the other hand, cadmium collodions may take several days to ripen, but will age more slowly. Ammonium salts also are used in quick-clearing formulas but they may produce irritating fumes and shorten the life of the working collodion as well. Iodides add speed to collodion while bromide salts extend the spectral sensitivity and produce lower contrast results with a finer gradation in midtones. As any collodion ages and turns from light straw to red in color, the contrast generally increases and the speed of the emulsion decreases. Addition of either potassium bromide or potassium iodide in the formula will also cause any bromidized collodion to throw down a precipitate which may take several days to clear. Potassium bromide and potassium Iodide are essentially insoluble in ethanol and so must be dissolved in a minimum amount of distilled water before being added to collodion formulas. Care must be taken to use the minimum amount of water because 190 proof ethanol already contains 5% water and collodions can only tolerate a certain percentage. If too much water is present, the nitrocellulose (aka pyroxyline) will precipitate out of solution. Warming the water will help dissolve iodide salts.

Carey Leas Landscape Collodion Formula #7

This is a double-cadmium salt collodion that has a long storage life and a slightly greater spectral sensitivity than some other formulas. Because cadmium salts are used, the collodion tends to be more fragile and has a tendency to lift from the plate surface. Subbing the plate edge with cotton swab saturated with albumen helps adhere this collodion film to the plate. Note that cadmium salts are carcinogenic and should be handled using appropriate personal protection equipment. Traditional Leas Landscape #7 Stock Alcoholic Bromo-Iodizing Solution: In a clean bottle capable of holding at least 125ml (~4oz) mix: 190 Proof Grain Alcohol (Everclear or 100 ml similar) Cadmium Bromide 1.5 g Ammonium Bromide 1.3 g Cadmium Iodide 3.4 g Ammonium Iodide 2.6 g First, dissolve the cadmium bromide in the alcohol. Then, dissolve the ammonium bromide into that solution followed by the other two salts. Working strength collodion formula: In a clean bottle capable of holding at least 250ml (~8oz) mix:

Alcoholic Bromo-Iodizing Solution 40 ml from above 190 Proof Grain Alcohol 50 ml Ethyl Ether 30 ml Collodion USP solution (~6% 120 ml pyroxilene collodion) Due to storage concerns and the difficulty obtaining diethyl ether, many wetplate photographers substitute either grain or denatured alcohols for any ether other than that inherent in the Collodion USP as purchased. Such low-ether mixtures may contain more water than usual due to its presence in the grain alcohol. The additional presence of water in the collodion may result in tender films, reduced adhesion to plates, and the need to extend the interval between pouring and sensitizing the plate. As a result, you may find in your practice that the traditional amount of ether is a necessity. There is some anecdotal evidence that the substitution of denatured alcohols for either grain alcohol or ether may rejuvenate salted collodions or prolong the working life of the mix. However, be aware that denatured alcohols are manufactured to be intentionally toxic and any ingestion or prolonged exposure to the fumes of denatured alcohols is to be avoided. Leas Landscape #7 Alternate Formula (eliminating
additional ether)

Stock Alcoholic Bromo-Iodizing Solution: In a clean bottle capable of holding at least 125ml (~4oz) mix: 190 Proof Grain Alcohol (Everclear or 100 ml similar) Cadmium Bromide 1.5 g Ammonium Bromide 1.3 g Cadmium Iodide 3.4 g Ammonium Iodide 2.6 g First, dissolve the cadmium bromide in the alcohol. Then, dissolve the ammonium bromide into that solution followed by the other two salts. Working strength collodion formula: In a clean bottle capable of holding at least 750ml (~24oz) mix: Alcoholic Bromo-Iodizing Solution 100 ml from above 190 Proof Grain Alcohol 200 ml Collodion USP solution (~6% 300 ml pyroxilene collodion) The working collodion should be fully ripened and ready to use within 2-3 days. Quick-clearing collodion formulas may be found in several texts devoted to wetplate. (Consult the bibliography.) Quinn Jacobson's popular quick-clearing collodion formula is a modified version of a formula originally published in M.H. Ellis' 1856 book, "The Ambrotype & Photographic Instructor." The following recipe makes 570ml of working collodion. It can be used almost immediately. Quinn Jacobsons Quick-clearing Collodion Formula Part A: Plain Collodion USP 240 ml Diethyl Ether 160 ml

Part B: Cadmium Bromide 3g Distilled Water 5 ml Warming the water will facilitate the dissolution of the cadmium bromide. A glass rod may be needed to break apart the cadmium salt which may cake in the water. Many wetplaters mix Part B in a test tube and carefully employ an alcohol lamp or other heat source to gently warm the solution. Part C: Slowly mix Part B into Part A Part D: Ammonium Iodide 4g Distilled Water 5 ml Grain Alcohol 160 ml Slowly mix PART D into PART C and shake after each addition.

Silver Nitrate Sensitizing Bath

A sensitizing bath consisting of 9% silver nitrate with pH adjusted to make either negative or positive plate. The actual volume of silver nitrate solution required depends upon the plate size being used and the capacity of the tank used for sensitizing the plates. More neutral baths (pH ~ 6) work well for negative images while positives require an acidic bath (pH ~4-5). Drops of nitric or glacial acetic acid may be used to adjust the pH. Inexpensive pH monitoring paper or dedicated pH meters may be used to determine solution pH. Once prepared, the specific gravity of the bath should be measured with a hydrometer and the initial value recorded. A brewing or aquarium hydrometer is accurate enough for this measurement. As the bath is used and the silver removed during sensitization of plates, additional silver nitrate should be added to replenish the bath and bring it to its initial value. The silver bath should be slightly iodized by letting a coated salted collodion plate sit in it overnight before the initial use of the bath. Note that silver nitrate is corrosive and may cause blindness if splashed into eyes. Nitric and glacial acetic acids are also corrosive with caustic irritating fumes. Use these chemicals only with proper personal protection equipment and adequate ventilation, and familiarize yourself with the MSDS information before attempting to use these chemicals. Silver Nitrate Sensitizing Bath Silver Nitrate 90 g Distilled Water 1000 ml Glacial Acetic Acid as needed Dissolve the silver nitrate in the water and carefully add drops of nitric or glacial acetic acid to bring the pH into the desired range for either collodion negatives (pH~6) or positives (pH~4-5). Use extreme care when adding these acids to the silver nitrate solution. These acids are extremely corrosive and inhaling their fumes may cause permanent pulmonary damage. Finally, iodize the bath slightly by letting a collodion plate sit in the silver nitrate solution overnight. This procedure saturates the bath

with silver iodide and prevents the dissolution of that salt from the surface of subsequent plates where it forms during the sensitization process. Check the initial specific gravity of the solution using a hydrometer. Most inexpensive hydrometers used in brewing or aquarium applications will work. You dont need to purchase an expensive laboratory hydrometer. Just be sure the hydrometer measurement range will incorporate values around 1.07 which is a fairly standard measurement for the sensitizing bath. Record the initial specific gravity level of the silver bath. (I mark the hydrometer scale directly). The bath may be replenished using a 30% silver nitrate solutions or by adding crystalline silver nitrate as needed.

Ferrous Sulfate Developer Formulas

Positive Developer for Ambrotypes, Aluminotypes, and Tintypes Ferrous Sulfate 16 g Distilled Water 400 ml Glacial Acetic Acid 24 ml 190 Proof Grain Alcohol 16 ml Filter the solution before use. Development should be timed to about 15 seconds and ended before shadow details become present. In hot conditions, the activity of the developer may be reduced and chemical fogging controlled by several means. These include dilution of the developer with additional water, reduction in the amount of ferrous sulfate, increasing the acetic acid content, or use of an organic restrainer such as sugar in the formula. Sugar Developer Variation Ferrous Sulfate 15 g Distilled Water 355 ml White Table Sugar 20 g Glacial Acetic Acid 20 ml 190 Proof Grain Alcohol 20 ml Filter the solution before use. For negatives, a weaker developer is used for an extended time, generally about 90 seconds. Less ferrous sulfate and more acetic acid is used. Negative Developer Formula Ferrous Sulfate 9g Distilled Water 355 ml Glacial Acetic Acid 28 ml 190 Proof Grain Alcohol 18 ml Filter the solution before use. In case of any unevenness of flow of the developer over the plate, a greater addition of alcohol will help the solution flow better. (Some workers exploit this fact and use less developer to increase development streaks and other artifacts.) Adding small amounts of potassium nitrate or silver nitrate will help brighten positive plates and produce a more neutral color. A few drops of silver from the sensitizing bath will also help produce a brighter plate. Many workers also save the used developer and mix it up to 50% with fresh developer to obtain similar results. Filtering both fresh and used developers helps prevent small artifacts known as comets on the collodion plate. A cotton ball or two placed in the neck of a funnel makes a filter sufficient for this purpose. Silver nitrate solutions should also be filtered after daily use employing a dedicated funnel and fresh cotton to prevent contamination.

Fixer Formula
Fixer for Wetplate Photography

Sodium Thiosulfate 200 g Cool water 1000 ml Add the sodium thiosulfate crystals slowly to the water and stir until dissolved completely. Plates are fixed for twice the time they take to clear or fully reverse in the case of positive images. Do not overfix plates. Areas of collodion along the pour-off corner may be thicker and impervious to the fixing action, but otherwise the unexposed opaque bluish collodion film should clear before the plate is removed from the bath.

Glass Cleaner
Glass Cleaner Whiting 50 g Distilled Water 50 ml 190 Proof Grain Alcohol 10 ml Mix the contents together in a clean condiment squeeze bottle by shaking. The whiting will settle out so be sure to shake vigorously before use. Apply a small puddle to the center of the glass plate and thoroughly clean the surface by rubbing with a soft cloth or paper towel. (I prefer to use PEC Pads due to their durability when wet.) Be sure to polish the cleaned plate with a lintless cloth and remove any powdered whiting that may remain on the plate including the edges. Whiting is powdered calcium carbonate and the inadvertent introduction of this chemical into the silver sensitizing bath will raise the pH and cause problems.

Sandarac & Lavender Varnish

Sandarac & Lavender Varnish 190 Proof Grain Alcohol 470 ml Gum Sandarac 65 g Oil of Lavender 50 ml In a lidded canning jar, dissolve the gum sandarac crystals in the alcohol by periodically shaking the bottle. It may take several days to completely dissolve the sandarac. Grinding the sandarac crystals to a smaller size using a mortar and pestle will speed the dissolution. Filter to remove debris. Add the oil of lavender to the filtered sandarac solution and mix until uniform. Decant the varnish into smaller stoppered bottles. To use, slightly warm the varnish bottle in a water bath while gently heating the back of the plate over a paraffin lamp. Metal plates will warm rapidly while glass plates will take longer. Dont try to rush with glass because a sudden temperature shock may crack the glass. Remove the plate from the proximity of the lamp and then flow the varnish smoothly over the plate as if making a collodion pour. Let the plate rest horizontally for several seconds but not for too long since the alcohol in the varnish may begin to dissolve the collodion film. After several seconds, tip the plate vertically and from one corner, drain the excess back into a separate collection bottle. Filter the varnish again before reuse. Warm the back of the varnished plate over the lamp in order to evaporate the alcohol solvent and set the varnish. Be careful to warm the plate slowly and avoid ignition of the alcohol coming off the surface. The varnish will take several hours to dry completely so keep the plate away from dust during this time.

Links, Resources, and Bibliography

This article has provided a very brief introduction to the wetplate collodion process. It has only scratched the surface. Much more information is available in various manuals and available workshops. I highly recommend reading several texts on the process as well as attending a workshop before attempting to work the process. Information on building darkboxes, preparing genuine ferrotype plates, making collodion negatives for albumen printing, remedying problematic baths or solutions, and general

tips and tales can be discovered in these resources. You will find the chemistry can be adapted for different conditions and effects, other tricks of the trade, and a wealth of information on troubleshooting this somewhat finicky process is available if you investigate the following resources.

Gallery of Wetplate Photographs by Joseph Smigiel

(Be forewarned that the gallery contains photographs of nude figures.)

Workshops

John Coffer Michael Mazzeo at Peters Valley Craft Center France Scully and Mark Osterman Northlight Photographic Workshops Center For Alternative and Historic Processes Will Dunniway Kerik Kouklis

Manuals, Articles, and Texts

Frederick Scott Archer, Inventor of the Wet Collodion Process The Doers Guide to Wetplate Photography, DVD and Manual, by John Coffer Coming Into Focus, chapter on wetplate, by Scully and Osterman The Wet-Plate Process, A Working Guide, by Scully & Osterman Wet Collodion Photography, A Short Manual, by George Berkhofer The Contemporary Wetplate Collodion Experience, by Quinn Jacobson The Silver Sunbeam, by John Towler, MD A Popular Treatise on Photography, by Dsir van Monckhoven (online) A Manual of Photography, by Mathew Carey Lea The Albumen and Salted Paper Book, by James M. Reilly (online) Bill Jay's Essays, including Dangers in the Dark, Move a Muscle and I'll Blow Your Brains Out and The Black Art How a Woman Makes Landscape Photographs by Eliza W. Withington, 1876 (online)

Internet Resources

The Wetplate Collodion Forum The Civil War Reenactor's Collodion Photography Discussion Forum Flickr Wetplate Photography Group Image Pool Disactis (A French Daguerreotype and Wetplate Site)

Wetplate Photographers
Jody Ake Allan Barnes Robert Benson Stephen Berkman Melitte Buchman Quinn Jacobson Luther Gerlach Robb Kendrick Kerik Kouklis Matt Larkin Sally Mann Robert Maxwell Michael Mazzeo Ken Merfeld

Eric Mertens Mark Osterman David Prifti France Scully Keilly Anderson-Staley Joni Sternbach Ellen Susan

Reenactor Photographers
John Coffer Will Dunniway Steve Ingram Sen MacKenna Christopher Morgan Wayne L. Pierce Robert Szabo

Chemistry Supplies
Artcraft Chemicals Bostick and Sullivan Chemsavers.com Clarkson Labs Mavidon Medical Supplies Photographer's Formulary

Equipment & Camera Conversions

Wayne Pierce, The Company Photographer The Star Camera Company Steve Silipigni/Black Art Woodcraft How to Adapt a Film Holder to Wetplate

Safety Links

Cadmium Bromide MSDS Cadmium Iodide MSDS Collodion USP MSDS Ether Hazards Ether Storage Ethyl Ether MSDS Nitrocellulose (guncotton, pyroxiline) Information Potassium Cyanide MSDS Silver Nitrate MSDS US Dept. of Energy Office of Health, Safety, and Security article on Management of Time Sensitive Chemicals THE CHEMICALS USED IN THIS PROCESS ARE EXTREMELY HAZARDOUS AND ANYONE CONSIDERING WORKING IN THIS PROCESS SHOULD INVESTIGATE THE MATERIAL SAFETY DATA SHEETS FOR EACH CHEMICAL AND BE FAMILIAR AND COMFORTABLE WITH THE PROPER HANDLING OF THESE MATERIALS TO MINIMIZE ANY POTENTIAL HAZARDS. THIS ARTICLE IS PROVIDED FOR GENERAL EDUCATIONAL PURPOSES AND IS NOT INTENDED TO BE ENDORSEMENT OF THE USE OF THE CHEMICALS BY UNTRAINED INDIVIDUALS. AGAIN, THE AUTHOR AND PUBLISHER OF THIS ARTICLE ACCEPT NO

RESPONSIBILITY NOR LIABILITY RESULTING FROM THE IMPROPER USE OF THESE CHEMICALS BY OTHER INDIVIDUALS.
2008 by Joseph P. Smigiel No part of this article may be reproduced without permission of the author. Thanks to Bill Schwab for providing several location photographs used in this article.