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Preparation of the Plate

Japanned metal plates (steel sheets coated with baked ashpaltum) were used historically to
create inexpensive positive collodion images known as “tintypes” or more properly,
“ferrotypes.” While Civil War Reenactors strive to attain period correctness in equipment and
materials by making genuine ferrotypes, preparation of authentic japanned plates is time-
consuming and messy. As a result, many modern wetplaters use prepared black-enameled
sheets of aluminum as the image substrate. Extremely convenient and inexpensive, the
aluminum plates can be cut to size by suppliers such as Main Trophy Supply. The aluminum
plates have a thin cellophane -like cover that is peeled immediately before pouring the
collodion. This greatly reduces dust and resultant artifacts on the finished plates. Due to the
thinness of the material, images made on metal sheets are generally backed by a “tablet” of
glass in the plate holder. This glass backing-sheet prevents the spring holding the collodion
plate to the focal plane from bending the metal sheet and throwing it out of focus. Sheets of
Fig. 14 The ambrotype effect.
glass are also used to make positive collodion images
known as ambrotypes, as well as glass negatives from which prints can be made. The
difference between the two variations depends on the density of the image. Ambrotypes
are really underexposed collodion negatives that reverse their tonality when backed by a
dark material or when made on dark colored glass (i .e., “ruby ambrotypes,” Figure 14).
Collodion negatives and positives are virtually grainless.
Fig. 15 A handle-mount glass cutter and
glass pliers recommended for The initial preparation of the glass involves cutting the plates to size and then sanding
dimensioning glass plates. or using a whetstone to dull the edges of the plate (Figure 15). The roughening should
result in an approximate angle of 45° for the glass edge around the surface to be coated. This abrasion serves two purposes.

First, it minimizes the hazard of cutting the skin on sharp edges of glass. (And this is particularly important to avoid if the
photographer uses potassium cyanide as the fixer. Sharp or broken glass and a lethal chemical is a recipe for disaster.
Additionally, if potassium cyanide is used as the fixer, it should never be stored in glass containers.) Second, the roughened
edge helps adhere the collodion to the slick glass surface.

The glass used for ambrotypes or negatives must be immaculately clean in order to prevent image artifacts and peeling of the
film. The glass is typically cleaned using a solution comprised of whiting or rottenstone (both varieties of fine calcium
carbonate) mixed in a solution of alcohol and water. A bit of solution is poured onto the plate and rubbed around to remove
oil and dirt on the glass. Care must be taken to remove all traces of this alkaline cleaning solution to prevent contamination
of the expensive silver nitrate sensitizing solution. I like to use small lintless PEC Pads to clean the plates. These special
pads will clean many plates before they need to be discarded.

Some collodion formulas containing cadmium bromide and/or cadmium iodide are tender and tend to lift from the surface of
the plate. Adding a subbing to the surface helps prevent this defect. The most common subbing is egg albumen mixed with
a small amount of water and spread about 1/8” in from the edge of the plate with a cotton swab.

Immediately before coating the glass plate with collodion, the surface should be brushed to remove ubiquitous dust.

Pouring the Collodion

The use of thin, chemically-resistant gloves is strongly recommended when pouring the collodion, in subsequent steps
involving sensitizing the plate in silver nitrate, and additionally throughout the development process. Wetplate is historically
referred to as “The Black Art” due to the silver nitrate stains that identified early practitioners. In addition to the staining
potential, silver nitrate is corrosive and may cause blindness if concentrated solutions are accidentally splashed into the
eyes. Because of these hazards, the use of chemically resistant gloves and protective goggles is recommended when
handling this chemical.

Pouring the collodion properly is a skill that comes with some practice. Novice wetplaters have a tendency to use
insufficient collodion solution in their initial pours. Too little solution causes irregular coatings and blank “islands” lacking
emulsion on the finished plates. It is far better to use too much collodion and have some spill over the edge of the plate than
to use too little.

Collodion has the approximate viscosity of warm maple syrup or cream and practice with such a substance can safely and
inexpensively facilitate the learning process.
Pouring the collodion can be done in normal illumination in proximity to the darkroom or darkbox. However, I find it easier
to pour in the darkbox.

To pour the collodion properly, the plate is held as horizontal as possible using one of several methods. For small plates, it is
probably easiest to pinch one corner between thumb and forefinger and pour the solution with the other hand. For moderate
size plates, the “waiter tray” method supporting the plate from below may be best approach (Figure 16). With larger, heavier
plates, a combination of one of the two previous methods while supporting the opposite
corner on a table may be required.

When coating the surface should have a fairly large pancake-like pour of collodion in
the center of the level plate. The plate is then gently inclined towards the photographer
so that the fluid moves towards the near corner without flowing off the edge or touching
the fingers holding the plate. Once the near corner is covered sufficiently, the plate is
gently inclined to the adjacent nearest corner, then downward to the third corner, and
finally to the “pour-off” corner. As the fluid approaches the last corner, the plate is Fig. 16 The “waiter tray” method.
quickly turned near vertical with the final corner placed inside a vessel used for
containing the solution. The plate is rocked back and forth while the collodion drains into the collection bottle. This helps
minimize lineations and irregular thicknesses in the collodion film. The entire coating operation should only take a few
seconds to complete. With larger plates, it may be necessary to add additional solvent (ether or grain alcohol) to the formula
in order to facilitate pouring and delay the setting up of the collodion film prematurely. You’ll notice that solvents are
continuously evaporating from the plate once the pour begins. Evidence for this evaporation is found in the obvious ethereal
fumes and the rapid cooling of the plate in hand.

Ether Hazard
To minimize the evaporation of solvents from the storage vessel, be sure to cap the bottles as soon as
possible. Also, be sure to perform this coating step far away from any flame or ignition source as the
collodion/ether fumes when concentrated can be dangerously explosive. Ether has a low flash point and
becomes ignitable at concentrations as small as 1.9% of the total air volume. Use the collodion only in
well-ventilated areas (outdoors or indoors with proper explosion-proof ventilation systems specifically
engineered to safely eliminate volatile hazardous fumes). Ether is also heavier than air and so fumes may
sink to the ground surface and travel some distance before dissipating. For this reason, it is imperative to
store and handle ether and collodion away from ignition sources such as water heaters, furnaces, surfaces
radiating heat, electric fans and other devices which may produce an ignition spark. Store these solutions
outside of residences in cool, dark, and preferably explosion-proof cabinets or special laboratory
refrigerators.

It should also be noted that while the collodion and ether have a longer shelf life when refrigerated, such
storage should only be done in explosion-proof refrigerators. Regular household refrigerators should not be
used to store these potentially-explosive chemicals. Should fumes accumulate, any spark from the fan
motor may ignite the concentrated fumes and cause an explosion.

Also, because of its potential to form explosive peroxides, opened bottles of ether should be disposed of as
soon as possible. Industrial and institutional guidelines generally recommend disposal of ether within 3-6
months of opening under optimum storage conditions. This assumes oxygen within the container has been
minimized using glass marbles to displace any air within the storage vessel or by using a gas blanket
specifically employed and formulated to displace air from the surface of the volatile fluid. Any ether stored
beyond this timeframe should be considered dangerously suspect and handled only by individuals trained in
the proper handling and disposal of explosive compounds.

The addition of alcohol or special chemicals (e.g., antioxidant BHT) help stabilize ethyl ether and inhibit
peroxide formation. To minimize any hazard associated with ethyl ether, it is best to purchase only small
quantities that will be used immediately and not stored. Recent experiments by wetplate photographers
indicate that grain or denatured alcohol may be substituted for any additional ethyl ether called for in
various collodion formulae. Such substitutions eliminate the need to purchase and store ethyl ether and as a
result, are strongly recommended for individuals practicing wetplate photography.

Note however that denatured alcohol is poisonous and not suitable for consumption. Prolonged exposure to
fumes of denatured alcohol should also be avoided for health reasons. Because of the health concerns
associated with use of denatured alcohols, the more expensive 190 proof ethanol is recommended as a
substitute for ethyl ether in collodion formulas. I do use denatured alcohols for cleaning labware, but I
minimize my exposure to this chemical with good ventilation and I always wear chemical-resistant gloves when
handling it.
 Wetplate Collodion Formulas
Salted Collodion
Prepare the salted collodion by adding iodide and bromide salts, grain alcohol and ethyl ether to plain collodion. (Note:
flexible collodion will not work. You must obtain and use Collodion USP in these formulations.) Most salted collodion
solutions need to ripen for several days before use.

For safety reasons, the substitution of 190 proof ethanol or denatured alcohol is sometimes recommended in these formulas
in place of any additional ethyl ether. Since ethyl ether is extremely volatile, highly flammable, and potentially explosive,
collodion formulas should be mixed and stored away from ignition sources (open flame, hot plates, electrical fans, etc.).

In general, working collodion solutions contain approximately 1.5% bromide salt and slightly more than double that amount
of an iodide salt. Common anions of these salts include potassium, ammonium, cadmium, lithium, zinc, or sodium ions.
Collodion formulas containing only potassium bromide and potassium iodide salts will clear quickly and be ready to use the
same day, but their keeping properties are reduced. On the other hand, cadmium collodions may take several days to ripen,
but will age more slowly. Ammonium salts also are used in quick -clearing formulas but they may produce irritating fumes
and shorten the life of the working collodion as well.

Iodides add speed to collodion while bromide salts extend the spectral sensitivity and produce lower contrast results with a
finer gradation in midtones. As any collodion ages and turns from light straw to red in color, the contrast generally increases
and the speed of the emulsion decreases.

Addition of either potassium bromide or potassium iodide in the formula will also cause any bromidized collodion to throw
down a precipitate which may take several days to clear.

Potassium bromide and potassium Iodide are essentially insoluble in ethanol and so must be dissolved in a minimum
amount of distilled water before being added to collodion formulas. Care must be taken to use the minimum amount of
water because 190 proof ethanol already contains 5% water and collodions can only tolerate a certain percentage. If too
much water is present, the nitrocellulose (aka pyroxyline) will precipitate out of solution. Warming the water will help
dissolve iodide salts.

Carey Lea’s Landscape Collodion Formula #7

This is a double-cadmium salt collodion that has a long storage life and a slightly greater spectral sensitivity than some other
formulas. Because cadmium salts are used, the collodion tends to be more fragile and has a tendency to lift from the plate
surface. Subbing the plate edge with cotton swab saturated with albumen helps adhere this collodion film to the plate. Note
that cadmium salts are carcinogenic and should be handled using appropriate personal protection equipment.

Traditional Lea’s Landscape #7

Stock Alcoholic Bromo-Iodizing Solution:
In a clean bottle capable of holding at least 125ml (~4oz) mix:
190 Proof Grain Alcohol (Everclear or similar) 100 ml
Cadmium Bromide 1.5 g
Ammonium Bromide 1.3 g
Cadmium Iodide 3.4 g
Ammonium Iodide 2.6 g
First, dissolve the cadmium bromide in the alcohol. Then, dissolve the ammonium bromide into that solution followed by the other two
salts.
Working strength collodion formula:
In a clean bottle capable of holding at least 250ml (~8oz) mix:
Alcoholic Bromo-Iodizing Solution from above 40 ml
190 Proof Grain Alcohol 50 ml
Ethyl Ether 30 ml
Collodion USP solution (~6% pyroxilene collodion) 120 ml

Due to storage concerns and the difficulty obtaining diethyl ether, many wetplate photographers substitute either grain or
denatured alcohols for any ether other than that inherent in the Collodion USP as purchased. Such low -ether mixtures may
contain more water than usual due to its presence in the grain alcohol. The additional presence of water in the collodion
may result in tender films, reduced adhesion to plates, and the need to extend the interval between pouring and sensitizing
the plate. As a result, you may find in your practice that the traditional amount of ether is a necessity.

There is some anecdotal evidence that the substitution of denatured alcohols for either grain alcohol or ether may rejuvenate
salted collodions or prolong the working life of the mix. However, be aware that denatured alcohols are manufactured to be
intentionally toxic and any ingestion or prolonged exposure to the fumes of denatured alcohols is to be avoided.

Lea’s Landscape #7 Alternate Formula (eliminating additional ether)

Stock Alcoholic Bromo-Iodizing Solution:
In a clean bottle capable of holding at least 125ml (~4oz) mix:
190 Proof Grain Alcohol (Everclear or similar) 100 ml
Cadmium Bromide 1.5 g
Ammonium Bromide 1.3 g
Cadmium Iodide 3.4 g
Ammonium Iodide 2.6 g
First, dissolve the cadmium bromide in the alcohol. Then, dissolve the ammonium bromide into that solution followed by the other two
salts.
Working strength collodion formula:
In a clean bottle capable of holding at least 750ml (~24oz) mix:
Alcoholic Bromo-Iodizing Solution from above 100 ml
190 Proof Grain Alcohol 200 ml
Collodion USP solution (~6% pyroxilene collodion) 300 ml
The working collodion should be fully ripened
and ready to use within 2-3 days.

Quick-clearing collodion formulas may be found in several texts devoted to wetplate. (Consult the bibliography.)

Quinn Jacobson's popular quick-clearing collodion formula is a modified version of a formula originally published in M.H.
Ellis' 1856 book, "The Ambrotype & Photographic Instructor." The following recipe makes 570ml of working collodion. It
can be used almost immediately.

Quinn Jacobson’s Quick-clearing Collodion Formula

Part A:
Plain Collodion USP 240 ml
Diethyl Ether 160 ml
Part B:
Cadmium Bromide 3g
Distilled Water 5 ml

Warming the water will facilitate the dissolution of the cadmium bromide. A glass rod may be needed to break apart the cadmium salt
which may cake in the water. Many wetplaters mix Part B in a test tube and carefully employ an alcohol lamp or other heat source to
gently warm the solution.

Part C:
Slowly mix Part B into Part A
Part D:
Ammonium Iodide 4g
Distilled Water 5 ml
Grain Alcohol 160 ml
Slowly mix PART D into PART C and shake after each addition.

Silver Nitrate Sensitizing Bath

A sensitizing bath consisting of 9% silver nitrate with pH adjusted to make either negative or positive plate. The actual
volume of silver nitrate solution required depends upon the plate size being used and the capacity of the tank used for
sensitizing the plates. More neutral baths (pH ~ 6) work well for negative images while positives require an acidic bath (pH
~4-5). Drops of nitric or glacial acetic acid may be used to adjust the pH. Inexpensive pH monitoring paper or dedicated pH
meters may be used to determine solution pH.

Once prepared, the specific gravity of the bath should be measured with a hydrometer and the initial value recorded. A
brewing or aquarium hydrometer is accurate enough for this measurement. As the bath is used and the silver removed
during sensitization of plates, additional silver nitrate should be added to replenish the bath and bring it to its initial value.

The silver bath should be slightly iodized by letting a coated salted collodion plate sit in it overnight before the initial use of
the bath.

Note that silver nitrate is corrosive and may cause blindness if splashed into eyes.
 Nitric and glacial acetic acids are also corrosive with caustic irritating fumes.
Use these chemicals only with proper personal protection equipment and adequate ventilation, and
familiarize yourself with the MSDS information before attempting to use these chemicals.

Silver Nitrate Sensitizing Bath

Silver Nitrate 90 g
Distilled Water 1000 ml
Glacial Acetic Acid as needed
Dissolve the silver nitrate in the water and carefully add drops of nitric or glacial acetic acid to bring the pH into the desired range for
either collodion negatives (pH~6) or positives (pH~4-5). Use extreme care when adding these acids to the silver nitrate solution. These
acids are extremely corrosive and inhaling their fumes may cause permanent pulmonary damage. Finally, iodize the bath slightly by
letting a collodion plate sit in the silver nitrate solution overnight. This procedure saturates the bath with silver iodide and prevents the
dissolution of that salt from the surface of subsequent plates where it forms during the sensitization process.

Check the initial specific gravity of the solution using a hydrometer. Most inexpensive hydrometers used in brewing or
aquarium applications will work. You don’t need to purchase an expensive laboratory hydrometer. Just be sure the
hydrometer measurement range will incorporate values around 1.07 which is a fairly standard measurement for the
sensitizing bath. Record the initial specific gravity level of the silver bath. (I mark the hydrometer scale directly). The bath
may be replenished using a 30% silver nitrate solutions or by adding crystalline silver nitrate as needed.

Ferrous Sulfate Developer Formulas

Positive Developer for Ambrotypes, Aluminotypes, and Tintypes
Ferrous Sulfate 16 g
Distilled Water 400 ml
Glacial Acetic Acid 24 ml
190 Proof Grain Alcohol 16 ml
Filter the solution before use.

Development should be timed to about 15 seconds and ended before shadow details become present. In hot conditions, the
activity of the developer may be reduced and chemical fogging controlled by several means. These include dilution of the
developer with additional water, reduction in the amount of ferrous sulfate, increasing the acetic acid content, or use of an
organic restrainer such as sugar in the formula.

Sugar Developer Variation

Ferrous Sulfate 15 g
Distilled Water 355 ml
White Table Sugar 20 g
Glacial Acetic Acid 20 ml
190 Proof Grain Alcohol 20 ml
Filter the solution before use.

For negatives, a weaker developer is used for an extended time, generally about 90 seconds. Less ferrous sulfate and more
acetic acid is used.

Negative Developer Formula

Ferrous Sulfate 9g
Distilled Water 355 ml
Glacial Acetic Acid 28 ml
190 Proof Grain Alcohol 18 ml
Filter the solution before use.

In case of any unevenness of flow of the developer over the plate, a greater addition of alcohol will help the solution flow
better. (Some workers exploit this fact and use less developer to increase development streaks and other artifacts.)

Adding small amounts of potassium nitrate or silver nitrate will help brighten positive plates and produce a more neutral
color. A few drops of silver from the sensitizing bath will also help produce a brighter plate. Many workers also save the
used developer and mix it up to 50% with fresh developer to obtain similar results.

Filtering both fresh and used developers helps prevent small artifacts known as “comets” on the collodion plate. A cotton
ball or two placed in the neck of a funnel makes a filter sufficient for this purpose. Silver nitrate solutions should also be
filtered after daily use employing a dedicated funnel and fresh cotton to prevent contamination.
Fixer Formula
Fixer for Wetplate Photography
Sodium Thiosulfate 200 g
Cool water 1000 ml
Add the sodium thiosulfate crystals slowly to the water
and stir until dissolved completely.

Plates are fixed for twice the time they take to clear or fully reverse in the case of positive images. Do not overfix plates.
Areas of collodion along the pour-off corner may be thicker and impervious to the fixing action, but otherwise the
unexposed opaque bluish collodion film should clear before the plate is removed from the bath.

Glass Cleaner
Glass Cleaner
Whiting 50 g
Distilled Water 50 ml
190 Proof Grain Alcohol 10 ml

Mix the contents together in a clean condiment squeeze bottle by shaking. The whiting will settle out so be sure to shake
vigorously before use. Apply a small puddle to the center of the glass plate and thoroughly clean the surface by rubbing
with a soft cloth or paper towel. (I prefer to use PEC Pads due to their durability when wet.) Be sure to polish the cleaned
plate with a lintless cloth and remove any powdered whiting that may remain on the plate including the edges. Whiting is
powdered calcium carbonate and the inadvertent introduction of this chemical into the silver sensitizing bath will raise the
pH and cause problems.

Sandarac & Lavender Varnish

Sandarac & Lavender Varnish
190 Proof Grain Alcohol 470 ml
Gum Sandarac 65 g
Oil of Lavender 50 ml

In a lidded canning jar, dissolve the gum sandarac crystals in the alcohol by periodically shaking the bottle. It may take
several days to completely dissolve the sandarac. Grinding the sandarac crystals to a smaller size using a mortar and pestle
will speed the dissolution. Filter to remove debris. Add the oil of lavender to the filtered sandarac solution and mix until
uniform. Decant the varnish into smaller stoppered bottles.

To use, slightly warm the varnish bottle in a water bath while gently heating the back of the plate over a paraffin lamp.
Metal plates will warm rapidly while glass plates will take longer. Don’t try to rush with glass because a sudden temperature
shock may crack the glass.

Remove the plate from the proximity of the lamp and then flow the varnish smoothly over the plate as if making a collodion
pour. Let the plate rest horizontally for several seconds but not for too long since the alcohol in the varnish may begin to
dissolve the collodion film. After several seconds, tip the plate vertically and from one corner, drain the excess back into a
separate collection bottle. Filter the varnish again before reuse.

Warm the back of the varnished plate over the lamp in order to evaporate the alcohol solvent and set the varnish. Be careful
to warm the plate slowly and avoid ignition of the alcohol coming off the surface. The varnish will take several hours to dry
completely so keep the plate away from dust during this time.

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