most viewed this week
The abortive trial of William H. Mumler in 1872 was the start of a decades-long battle between Science and the Séance. In the United Sta...
Midsummer tree,folk festivals around which a MAYPOLE DANCE often takes place In Britain the maypole was found primarily in En...
The Sick Rose is a visual tour through the golden age of medical illustration. The nineteen...
Abrasion due to storage with other items causes pieces of the emulsion (image) to flake off. Humidity in the air the...
Ernest de Caranza Fountaine de la Sophie, Constantinople 1854 Salted paper print from paper ne...
The phenomenon of "Cardomania" that raged in the late nineteenth and early twentieth decreed the success of the format Car...
about me "work and lifestyle"
Monday, 2 September 2013
... pull the curtains and we open the windows!
In the 19th century, collodion on glass positives made in camera were called alabasterines, collodion positives on glass, daguerreotypes on glass, daguerreotypes without reflection, verreotypes, and ambrotypes. These were made on either clear glass requiring a dark backing or on dark glass, often called ruby glass, although it was not always red. Images made on metal were introduced as melainotypes. Another manufacturer called these ferrotypes. Before long the general public called all of the iron-plate collodion positives tintypes.
...The wet collodion process was used for commercial portrait and landscape photography until it was replaced by the silver bromide gelatin dry plate in the mid-1880s. It continued to be used by some tintypists until the turn of the century, long after gelatin emulsion tintype plates were introduced. The graphic arts industry used wet plates until the mid-20th century for the production of halftone-screened negatives. These were often stripped from the original glass support and applied to a multiple negative for exposure onto zinc plates for printing.