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    A Guide to the Wet Plate Process of Photography - Camera Series Vol. XVIII. - A Selection of Classic Articles on Development, Fixing, Chemicals and
    A Guide to the Wet Plate Process of Photography - Camera Series Vol. XVIII. - A Selection of Classic Articles on Development, Fixing, Chemicals and
    A Guide to the Wet Plate Process of Photography - Camera Series Vol. XVIII. - A Selection of Classic Articles on Development, Fixing, Chemicals and
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    A Guide to the Wet Plate Process of Photography - Camera Series Vol. XVIII. - A Selection of Classic Articles on Development, Fixing, Chemicals and

    By Read Books Ltd.

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    About this ebook

    This book contains classic material dating back to the 1900s and before. The content has been carefully selected for its interest and relevance to a modern audience. Carefully selecting the best articles from our collection we have compiled a series of historical and informative publications on the subject of photography. The titles in this range include "A Guide to Portrait Photography" "A Photographer's Guide to Printing" "A Guide to Landscape Photography" and many more. Each publication has been professionally curated and includes all details on the original source material. This particular instalment, "A Guide to the Wet Plate Process of Photography" contains information on development, Fixing, chemicals and much more. It is intended to illustrate the main aspects of the wet plate process and serves as a guide for anyone wishing to obtain a general knowledge of the subject and understand the field in its historical context. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.
    LanguageEnglish
    PublisherRead Books Ltd.
    Release dateMar 6, 2013
    ISBN9781447489993
    A Guide to the Wet Plate Process of Photography - Camera Series Vol. XVIII. - A Selection of Classic Articles on Development, Fixing, Chemicals and

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      A Guide to the Wet Plate Process of Photography - Camera Series Vol. XVIII. - A Selection of Classic Articles on Development, Fixing, Chemicals and - Read Books Ltd.

      Abney

      Wet Plate Process.

      864. Following closely on the heels of the earliest method of taking portrait photographs—that is, on a silver plate by the Daguerrcan process—came the discovery of the use of collodion as a transparent vehicle for holding the salts sensitive to light. The Daguerreotype had the disadvantage that the image was reversed (although a positive) and was not reproducible, so was speedily displaced by the newly discovered wet collodion process, which gave results equal in fineness and gradation to any produced by the modern dry plates. It was styled the wet plate process, because it had to be used in a wet, freshly-prepared condition to retain its sensitiveness. It was not until some time later that a dry sensitive collodion emulsion was devised, and this again was speedily displaced by the gelatin emulsion of the dry plate as we know it today.

      865. The original method of the wet plate process was to flow a collodion film containing metallic iodides on a sheet of glass, and then to sensitize the film in a solution of nitrate of silver. This formed iodide of silver salts, which were more sensitive than nitrate of silver salts. The exposure was made while the plate was still wet from immersion in the silver bath, and then developed in a solution of pyrogallic and acetic acids, being subsequently fixed in hypo. This process is essentially the same as the wet plate process still in use.

      866. Application of Wet Plate Process.—While the wet plate process is not a difficult one, yet for studio and general photographic work it has outgrown its usefulness. However, there are special departments of photography for which the wet plate is indispensable and is better adapted than its rival, the dry plate. For instance, for the photographing of large drawings, maps, etc., the wet plate gives the best results both on account of its greater economy when large plates are used and because clear lines and dense backgrounds can readily be obtained. This process is, therefore, principally employed by the government, where thousands of maps and drawings are to be reproduced, and in large commercial studios where similar work must be reproduced.

      867. The wet plate process is also used for certain kinds of technical work, such as the making of negatives for process work for photo-engraving, etc. It is also used in making enlarged negatives, lantern-slides, and for microscopic work. For the latter mentioned purposes it has two distinct advantages over the modern dry plates—first, its cheapness, and second, the possibilities of obtaining greater density of deposit, together with the extreme clearness of shadows. Still another reason, more especially for microscopic and lantern-slide work, is the possibility of producing the extremely fine grain, which is an advantage where fine detail is required.

      868. The manufacturers of the dry plate of today are endeavoring to imitate the qualities of the wet plate, and in many instances they have met with success; but, owing to the difference in expense between the two, the wet plate will always hold its own for commercial purposes.

      869. In the early days of the wet plate process, the photographer was not only compelled to prepare his own collodion, but also the pyroxyline (gun-cotton) from which the collodion was made. Today, however, collodion can be purchased already prepared for use, and while large consumers of collodion prepare their own chemicals, yet the making of gun-cotton has been dispensed with and this product is bought ready for use from the supply dealers.

      870. Dark-Room.—The first requirement for the wet plate process is the dark-room. While any ordinary photographic dark-room will do, yet, as the wet plate is less sensitive to light than the modern dry plate, a much stronger light may be employed for manipulation of the wet plate than would be safe to use for the dry plate. A light which would be sufficiently safe for the development of bromide papers would be perfectly safe for the manipulation of the wet plate. Usually, one thickness of post-office paper over an ordinary light will be found perfectly safe. The yellow or amber color will be found better than the ruby light. While a less diffused light may be employed for the manipulation of the wet plate, a dark-room absolutely free from white or actinic light must be used.

      871. Dark-Room Equipment.—The dark-room should be equipped with a sink of sufficient size to allow of plenty of room for the developing directly over the sink. At one end of the sink you should prepare a place to receive the silver bath. This bath should be so located as to project only a trifle above the top of the sink itself. The top of the bench on which the silver bath rests should be covered with blotting paper, to take up and absorb any of the drippings that may fall from the wet plate coming direct from the silver bath.

      872. For experimental purposes and small work, such as the making of lantern-slides, etc., one may use an ordinary clean tray for sensitizing the plate, but this

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