Tint Glass with Wet Plate Chemistry, Shot to Glass to Film Camera in Cine Pano Format

[Mustafa Umut Sarac]

Facts.

- We have limited money for film and need to use less when print wide
- Many of us want wet plate but it is costly and poison.
- Many of us want panoramic shots but it costs even more money.

Now, here is my solution.

- Our film winding would be vertical.

- Our format will be 8x24mm
- Film would be 35mm.

- There would be Silver Iodide Tinted Glass in front of film
- Silver Iodide Tint Glass records photo in minutes and deletes itself in coming minutes.

- Silver Iodide tint glass size would be 8x24mm.
- Wet plate chemistry depends on silver iodide record as well as tint nanoparticle silver iodide window glass

- First long time shot will be on tint glass takes few minutes.

- Than we will open the 8x24mm gate and camera shutter + lens will take a flat light on to tint glass to film.

- Wait to glass deletes itself


Umut

 

[removed account4]

forgive my not totally understanding what you are doing ..
why load both light sensitive glass AND film into the camera ?

 

[NedL]

I think I get it. Glass with tiny silver iodide or silver bromide crystals is photochromic ( like eyeglasses that change tint in the sun ).

Let the image form on the glass then basically make a contact print onto film, maybe by opening an inner shutter. Then close the main shutter so the glass is in dark and becomes clear again. If it worked you'd end up with a positive image on the film....

An interesting idea, I wonder how well an image will form in the glass... it would be interesting to take a pair of variable-tinted glasses and see if you could form a visible image by focusing a scene through a lens.... or try to contact print a negative onto them in the sun....

 

[Mustafa Umut Sarac]

why load both light sensitive glass AND film into the camera

If you want the tint silver iodide nanoparticle glass take the work of wet plate chemistry coated glass without the liquid use , difficult coating processes and red tent , without messing with ether , big cameras , big plates

and if you want the film record the what the tint silver iodide nanoparticle glass sees , this is one of few ways.

because tint silver iodide nano particle glass which mimic the old wetplate glass, erases itself within few minutes and you must find a way to record tint glass on to film in camera or insitu.

no worries , glass is no bigger than postal stamp.

 

[Mustafa Umut Sarac]

excellent Ned , someone might try , agree.

I think I get it. Glass with tiny silver iodide or silver bromide crystals is photochromic ( like eyeglasses that change tint in the sun ).

There are various technologies but I selected silver iodide crystal added one because its the closest thing to wetplate.

There are SI, SI+SB and SB , tint glasses at the market.

May be it does give a two tone photograph may be five may be more.

There are also tint films also , they are far from the general chemical knowledge , expert stuff but they must be cheap. I cant remember who sells them , what name , where from but eye glass plastics or films are coming from somewhere.

If I were you , I would go to alibaba and get every possible things samples from reliable sellers. Dont tell what you are after at all.

cheers,

umut

 

[Mustafa Umut Sarac]

I found , its scalable also , why not use 8x10 tint glass and cheap photo paper together ?

If it worked you'd end up with a positive image on the film....

It s a good find Ned.

 

[NedL]

The same thought occurred to me! It could be a very interesting way to make a direct positive.

I found , its scalable also , why not use 8x10 tint glass and cheap photo paper together ?

 

[Mustafa Umut Sarac]

I am trying to register glass forums , will turn with how many tones is possibles answer.

I filled the form asking me which coast new york on , atlantic and east wrong

 

[Dan Fromm]

Well, there is a difference between the Imaginary Process™ and the wet plate process. Wet plate negatives dry after processing and are permanent. They and can be used to make as many prints as desired. Imaginary Process™ negatives vanish slowly on exposure to light and can be used to make a limited number of positives before they revert to clear glass.

I'm afraid that until Imaginary Process™ negatives can be fixed permanently the process will be of little practical significance.

Its been a while since I looked up Lippmann plates but if I recall correctly they have a silver bromide in albumen emulsion with sub-sub-micron grains. Something like Lippmann's original plates used to be available commercially and there's a large literature on them. They're useless for general photography because of low sensitivity to light. Since this is usually the case with emulsions that contain tiny grains, Imaginary Process™ plates may be similarly insensitive to light.

 

[Mustafa Umut Sarac]

read the posts above.

 

[Dan Fromm]

Thanks for the suggestion. After rereading the thread from the start I'm still puzzled.

Imaginary Process™ negatives are considerably thicker than wet plate negatives. This guarantees fuzziness.

If cost is a major obstacle and the goal is prints with so-so image quality, why not just shoot paper negatives in a pinhole camera? 8x10 would give contact prints large enough to see and wouldn't require elaborate exposure and re-exposure and would be permanent.

 

[removed account4]

i didn't realize the camera would have 2 shutters one I front of the glass, and one behind the glass.
I was thinking it was right behind the glass being exposed at the sale time ( getting fogged ) ..
good luck!

I agree dan , paper would be cheap and permenant

 

[Mustafa Umut Sarac]

single shutter is enough. there is only one gate to open film to glass and we turn the camera to sky and expose the film by glass with using same lens shutter but different setting.

 

[Mustafa Umut Sarac]

Thanks for the suggestion. After rereading the thread from the start I'm still puzzled.

Imaginary Process™ negatives are considerably thicker than wet plate negatives. This guarantees fuzziness.

If cost is a major obstacle and the goal is prints with so-so image quality, why not just shoot paper negatives in a pinhole camera? 8x10 would give contact prints large enough to see and wouldn't require elaborate exposure and re-exposure and would be permanent.

read the posts again and again , think , imagine , you will come to my point.

read the other posts also.

 

[Dan Fromm]

Thanks for the suggestion. After rereading the thread again I'm still puzzled. You added:

single shutter is enough. there is only one gate to open film to glass and we turn the camera to sky and expose the film by glass with using same lens shutter but different setting.

So you want to put a blind between glass and film when taking the first exposure and then remove the blind when making the "print." Ok. If the blind has zero thickness you'll get, in effect, a contact print. If the blind's thickness isn't zero, you'll need a way of pressing the film against the glass when printing. Otherwise you'll lose sharpness.

As I understand what you're about, you started with the premise that what makes wet plate photography wonderful -- as you define wonderful -- is a very fine grained emulsion. Is this correct? If not, what about wet plate is worth emulating?

 

[removed account4]

single shutter is enough. there is only one gate to open film to glass and we turn the camera to sky and expose the film by glass with using same lens shutter but different setting.

good luck with that !