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Daguerreotypes, ambrotypes and early tintypes were usually sold in small folding cases. The cases were designed to keep the fragile surfa...
Albumen print specifically have always held a soft spot in my heart for their ability to exude romantic warmth. This quality, in part, ca...
the Tapada phenomenon symbolised women's freedom and indipendence for three centuries 1560-1850 the cyclope eye allowed women t...
Qajar Era The Qajar dynasty Persian : دودمان قاجار Doodmān e Qājār ; also romanised as Ghajar , Kadjar , Qachar etc.; Azer...
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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.