Wet plate in color

[William quaintance]

Porphyry is stone

 

[William quaintance]

Porphyry is stone

 

[koraks]

Three separate plates are coated with different dyed emulsions.

OK, are these plates also coated with a silver halide collodion emulsion?

The plates are developed under three different color safe lights.

Why?

I have a feeling there's a massive misunderstanding or fundamental difference in how we interpret some crucial terms like 'wet plate' and 'collodion' at the basis of this thread.

 

[William quaintance]

The process is a collodion wet plate type. The Dyed collodion plate is of course bathed in silver nitrate. Please forgive me for I paint not photograph. It is decades since this was exhumed. It would be so easy to show than to accurately answer many questions. The tech terms are very familiar and yet I am not a wet chemist. Simply said most Queries equal 1 or better any doubts to its existence may be forgotten. I will briefly explain, intuitively it seemed it ought to exist and like some other fortunate paths taken the subject unfolded complete when first encountered. Reengineering took longer. It would be nice if to gift the lab away to a good home. 400 year old email just arrived. Lest I digress From the dept of
Toomuchinfo. And happy searches adieu

 

[William quaintance]

OK, are these plates also coated with a silver halide collodion emulsion?



Why?

I have a feeling there's a massive misunderstanding or fundamental difference in how we interpret some crucial terms like 'wet plate' and 'collodion' at the basis of this thread.

It see seems only logical three different safeloghtd are necessary.

 

[ic-racer]

Is this slow process? Since July and still no print to show?

 

[William quaintance]

Is this slow process? Since July and still no print to show?

What?

 

[Richard Man]

I think people want to see some photo of anything: the results, the paintings, anything other than just words.

 

[William quaintance]

I think people want to see some photo of anything: the results, the paintings, anything other than just words.

I suggest searching the national gallery site wet plate collodion color photography archive.

 

[Richard Man]

That's not how things work. You re-invented a lost process and ... exactly what are you asking? Someone to buy / get the stuff from you? I'm confused. Anyway, seeing what's in the National Gallery is not an issue, seeing what you are offering is the question.

If I claim I invented a time machine, and I wrote this actually 2 months ago, the burden of proof is for me to show something, not to say, "yea, check out H.G. Wells' story."

 

[koraks]

The Dyed collodion plate is of course bathed in silver nitrate.

OK, so you have a 'dyed collodion plate'. Does that mean a glass plate with a collodion layer adhered to it? How and at what stage is it dyed, and with which dye? Is the dye added to the collodion poured onto the plate? Which chemicals are added to the collodion, specifically which halides (bromide, chloride, iodide)? Does the dye survive subsequent development, fixing and washing, or does the dye only play a role during exposure?

It see seems only logical three different safeloghtd are necessary.

Not really; if it's a safelight, it wouldn't play a role in development or exposure, and its color wouldn't matter as long as the plate/print/etc isn't sensitive to it. So the first logical question would be if your process also work if the plates are developed in absolute darkness. If not, we're not talking about a safelight, but a light that functions perhaps to give a fogging exposure or something like that. It's essential details like these that remain unclear despite repeated attempts to clarify.

Your mention of 3 safelights and hints at 3 plates suggest this is some kind of in-camera separation process, where the same scene is photographed 3 times with 3 different colors, and the colors are then somehow again assembled (in gum printing?) in a further printing process. Is this correct?

I suggest searching the national gallery site wet plate collodion color photography archive.

Earlier I've done what you said and searched the collection you indicated. No works that matched your description were indexed.
It should be very easy to upload a few examples of color collodion plates (or prints?) you've produced to illustrate what we're talking about. This would already clarify matters to a large extent.

It would be nice if to gift the lab away to a good home.

I'm sure that e.g. Mark Osterman (https://www.collodion.org/) and/or the George Eastman House (https://www.eastman.org/) would be interested to include the process in their living collection. This would also be a good way to disseminate it to future audiences. Likewise, it would be possible to self-publish your findings online, e.g. in the form of a few YouTube videos that demonstrate the process, or maybe a self-authored book, website etc. Perhaps someone close to where you're located is willing to take the plunge and meet up with you and help you publish, find a custodian for your technology etc. I'm not in the position to do this, but if Iived close to you, I probably would have been willing to spend a few hours figuring what the heck is actually going on at your end.

 

[retina_restoration]

I suggest searching the national gallery site wet plate collodion color photography archive.

I suggest you provide a link to such examples.

 

[William quaintance]

I suggest you provide a link to such examples.

Examples are catalogued I hope you find them

 

[William quaintance]

OK, so you have a 'dyed collodion plate'. Does that mean a glass plate with a collodion layer adhered to it? How and at what stage is it dyed, and with which dye? Is the dye added to the collodion poured onto the plate? Which chemicals are added to the collodion, specifically which halides (bromide, chloride, iodide)? Does the dye survive subsequent development, fixing and washing, or does the dye only play a role during exposure?


Not really; if it's a safelight, it wouldn't play a role in development or exposure, and its color wouldn't matter as long as the plate/print/etc isn't sensitive to it. So the first logical question would be if your process also work if the plates are developed in absolute darkness. If not, we're not talking about a safelight, but a light that functions perhaps to give a fogging exposure or something like that. It's essential details like these that remain unclear despite repeated attempts to clarify.

Your mention of 3 safelights and hints at 3 plates suggest this is some kind of in-camera separation process, where the same scene is photographed 3 times with 3 different colors, and the colors are then somehow again assembled (in gum printing?) in a further printing process. Is this correct?




Earlier I've done what you said and searched the collection you indicated. No works that matched your description were indexed.
It should be very easy to upload a few examples of color collodion plates (or prints?) you've produced to illustrate what we're talking about. This would already clarify matters to a large extent.



I'm sure that e.g. Mark Osterman (https://www.collodion.org/) and/or the George Eastman House (https://www.eastman.org/) would b

OK, so you have a 'dyed collodion plate'. Does that mean a glass plate with a collodion layer adhered to it? How and at what stage is it dyed, and with which dye? Is the dye added to the collodion poured onto the plate? Which chemicals are added to the collodion, specifically which halides (bromide, chloride, iodide)? Does the dye survive subsequent development, fixing and washing, or does the dye only play a role during exposure?


Not really; if it's a safelight, it wouldn't play a role in development or exposure, and its color wouldn't matter as long as the plate/print/etc isn't sensitive to it. So the first logical question would be if your process also work if the plates are developed in absolute darkness. If not, we're not talking about a safelight, but a light that functions perhaps to give a fogging exposure or something like that. It's essential details like these that remain unclear despite repeated attempts to clarify.

Your mention of 3 safelights and hints at 3 plates suggest this is some kind of in-camera separation process, where the same scene is photographed 3 times with 3 different colors, and the colors are then somehow again assembled (in gum printing?) in a further printing process. Is this correct?




Earlier I've done what you said and searched the collection you indicated. No works that matched your description were indexed.
It should be very easy to upload a few examples of color collodion plates (or prints?) you've produced to illustrate what we're talking about. This would already clarify matters to a large extent.



I'm sure that e.g. Mark Osterman (https://www.collodion.org/) and/or the George Eastman House (https://www.eastman.org/) would be interested to include the process in their living collection. This would also be a good way to disseminate it to future audiences. Likewise, it would be possible to self-publish your findings online, e.g. in the form of a few YouTube videos that demonstrate the process, or maybe a self-authored book, website etc. Perhaps someone close to where you're located is willing to take the plunge and meet up with you and help you publish, find a custodian for your technology etc. I'm not in the position to do this, but if Iived close to you, I probably would have been willing to spend a few hours figuring what the heck is actually going on at your end.

e interested to include the process in their living collection. This would also be a good way to disseminate it to future audiences. Likewise, it would be possible to self-publish your findings online, e.g. in the form of a few YouTube videos that demonstrate the process, or maybe a self-authored book, website etc. Perhaps someone close to where you're located is willing to take the plunge and meet up with you and help you publish, find a custodian for your technology etc. I'm not in the position to do this, but if Iived close to you, I probably would have been willing to spend a few hours figuring what the heck is actually going on at your end.

 

[William quaintance]

I will contact osterman and Eastman. So many practical questions all are described in what I have read. Until I find a Midwest party actively using collodion I prefer to keep my research confidential. I am glad to have found many interested parties. Perhaps in future I may share the documentation more widely.

 

[koraks]

OK, feel free to report back when you've got something to share. In the meantime good luck with the covert ops.

 

[Carnie Bob]

After reading all this I can only think that the OP is referring to wet plate capture, then scans or photographic repros of said wet plates and then using the gum bichromate process
producing colour prints by doing multiple coatings with the said film. I know many people who have done this , myself included.