... pull the curtains and we open the windows!

In the 1870s collodion emulsion plates were being used by a very active group of amateurs. Based on the earlier work of Gaudin and Laurent a few years earlier, these were made with collodion that included a mixture of iodides, bromides, and silver nitrate. Once again the plates were too slow for anything but landscape work, but they were more convenient in the field and led the way for the commercial introduction of collodiochloride printing-out papers and eventually silver bromide gelatin emulsions. Collodio-bromide emulsions sensitized with dyes were also used for three-color processes until the First World War.
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.