Preserved Dry Collodion Plate process
This weekend a colleague Jeroen de Wijs visited me. He is a collodion photographer from Holland with outstanding knowledge and experience in collodion photography. He was learning collodion photography from Mark Osterman and France Scully Osterman at group and individual workshops. We’ve visited Studio Pelikan and today he thought me how to do dry preserved collodion negative. This process is much more complicated than ambrotype and tintype so not many people knows it and even less practice it. The major advantage is that dry collodion plates can be prepared at home and they need to be exposed and processed in about month or two time. The disadvantage is that plates have very low sensibility for light. Like the plate that I’m publishing was exposed for 75 minutes at a cloudy day at aperture f/11. OK, I was using very old, four months old collodion negative, that it could be considered as a dead collodion, but if I would use young collodion, it would still take about 15 minutes. Dry plate collodion was the medium that made it possible to photograph interiors of churches and other buildings, with exposure times for a whole day. As you probably guessed the dry collodion plates process is suitable for landscape photography, not for portraits. At the end of the day I’ve made a salt print from the negative and I call it a very good day😉
PS: In two weeks I’m going to Rochester to George Eastman House for a carbon printing workshop. So exciting!!!