View allAll Photos Tagged Develope
Milano - Dicembre 2022
Scorcio Urbano
Leica IIIF (1951)
Leitz Elmar 50 f3.5 LTM (1947)
Fomapan 200
R09 Studio 1+31 x 9 min
Busto Arsizio Ottobre 2022
Rolleiflex 3.5F
Zeiss Planar 75mm f3,5
Rollei Retro 80S @ 80asa
Bellini Hydrofen 1+30 x 9 min
IN ENGLISH BELOW THE LINE / BETTER SEEN LARGE
La foneria d'acer CELSA, de Castellbisbal, deu ser de les fàbriques més voluminoses de l'entorn de Barcelona. Penseu que per dins d'aquestes canonades hi passaria un cotxe!
Placa de col•lodió sec, mètode Major Russell (col•lodió-taní), en format 4x5; realitzat amb una Graflex Speed Graphic fabricada cap al 1949; objectiu Kodak Anastigmat f4.5; col•lodió Mammut Lea-3 i taní; 10 minuts a f11 (EV entorn 13).
Mentre anava fent proves de plaques seques de col•lodió, vaig trobar un nou video de Borut Peterlin mostrant aquest procediment, però amb variacions. Vaig adaptar-les al meu sistema de treball i ara les plaques son molt més netes i homogenies.
Bàsicament, el sistema mostrat en aquest video implica una més clara neteja del nitrat de plata i sobretot revelar per inmersió, el que millora el detall i la uniformitat. Les plaques cobertes amb co•lodió (i anteriorment albuminades, part essencial del procés) es preparen com per a una placa humida usual. En el moment de treure-les del bany de plata, comença la diversió. Cal rentar la placa, sota llum roja, en dues safates d'aigua destilada, i seguidament, submerir-la en una sol•lució d'aigua, taní i etanol. Son uns 10 minutes per placa, en total. Un cop feta la exposició, encara més important el revelat també és per inmersió. Primer s’humidifica la placa seca amb aigua i etanol, i després es submergeix 5 minuts en una solució d’acid pirogalic i citric, amb unes gotes de nitrat de plata. Amb això s’inicia el revelat, però cal afegir més nitrat de plata passats els cinc minuts i usualment fins als 10-12 minuts.
Les plaques de col•lodió sec son força desconegudes però es varen fer servir en paral•lel al més famós col•lodió humit. Eren molt pràctiques per eliminar la necessitat de portar a sobre tots els quimics i una cambra fosca portatil, però com les exposicions son molt llargues, de diversos minuts com a mínim, en queden exclosos els retrats.
cool.culturalheritage.org/albumen/library/monographs/monc...
www.youtube.com/watch?v=zjxNoTjOZrc&t=2941s
============================================================================================================
CELSA steel works, in Castellbisbal, Must be one of the largest factories arround Barcelona. A car could run inside those pipes.
Dry collodion plate, Major Russell process (tannin-collodion) in 4x5 format; taken with a Graflex Speed Graphic, made c. 1949; Kodak Anastigmat f4.5 lens; Mammut Lea-3 collodion and tannin; exposed for 10 minutes at f11 (EV 13).
While testing collodion dry plates, I found a new video by Borut Peterlin showing this procedure, but with variations. I adapted them to my work system and now the plates are much cleaner and homogeneous.
Basically, the system shown in this video involves a much intense cleaning of the silver nitrate and especially developing by immersion, which improves detail and uniformity. Plates covered with collodion (and previously albuminized, an essential part of the process) are prepared as for a usual wet plate. The moment you take them out of the silver bath, the fun begins. The plate must be washed, under red light, in two trays of distilled water, and then immersed in a solution of water, tannin and ethanol. It's about 10 minutes per plate, in total
Once the exposure is made, even more important is to develope also by immersion. First, the dry plate is moistened with water and ethanol, and then immersed for 5 minutes in a solution of pyrogallic and citric acid, with a few drops of silver nitrate. This starts the development, but it is necessary to add more silver nitrate after five minutes and usually up to 10-12 minutes.
The dry collodion is a quite convenient "evolution" from the wet collodion, as it allows to go out there without any box of chemicals and a dark box following you. But it never gained more popularity due to it's own problems, like even more complex manipulations and specially much less sensibility, with expositions in the minutes range, limiting it to landscape photography.
cool.culturalheritage.org/albumen/library/monographs/monc...
Milano Gallaratese - Scorcio urbano
Maggio 2025
Canon P
Jupiter-12 35mm f2,8
Agfa APX 100
Bellini Hydrofen 1+31 x 8 min
Milano - CityLife
Febbraio 2022
Hasselblad SWC
Zeiss Biogon 38 mm f4.5
Rollei SuperPan 200
Hydrofen 1+30 x 13 min
I took this photo from Binh Duong New City at Vietnam, Binh Duong is provice near with Sai Gon City (Ho Chi Minh city today).
The Revolution of Industrial 4.0 exposed at in this city, it's become one of the strategy to develope all of the factory, the industry to support all country in Vietnam & local AEC.
(Asean Economic Community)
Busto Arsizio - Scorcio Urbano
Aprile 2025
Nikon FA
Nikkor 35mm f2 AI
Fomapan 100
Bellini Hydrofen 1+31 x 10 min
Busto Arsizio - scorcio urbano
Gennaio 2023
RolleiFlex 3,5F
Zeiss Planar 75mm f3,5
Kentmere 100-120
R09 Studio 1+30 x 9 min
Double-exp
Busto Arsizio - Scorcio Urbano
Gennaio 2024
Nikon FE
Nikkor AI 35mm f2
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 10 min
Busto Arsizio Ottobre 2022
Rolleiflex 3.5F
Zeiss Planar 75mm f3,5
Rollei Retro 80S @ 80asa
Bellini Hydrofen 1+30 x 9 min
A shot from last nights sunset. I knew that low tide would coincide with sunset and the sky looked good from home so I shot to the beach on the off chance that something might develope , and oh yes it did.
It was just as well there was nobody else on the beach as I was hooting and hollering at my LCD screen after each shot.
Yes I loved it at sunset last night , it`s all overcast and grey tonight so i`m feeling quite pleased with myself . Bri..
View large View On Black
Forte di Fenestrelle
09-09-2018
Oltre alla serie digitale ( flic.kr/s/aHsmsnW9Lv ) propongo la versione analogica che, secondo me, rende meglio la sensazione di oppressione mista ad appagamento per gli splendidi paesaggi.
Olympus OM-2n
OM Zuiko 21 f3,5 - OM Zuiko 35 f2,8 - OM Zuiko 50 f1,8 - OM Zuiko 100 f2,8
Fomapan 100
Dev. STudional 1+30 x 9 min
Released: 12.27.17
Bandcamp:
avirtualmemory.bandcamp.com/album/item-05-sakawa-ep
Soundcloud:
soundcloud.com/avirtualmemoryofficial/sets/item-05-sakawa-ep
More artwork at: www.permiandesigns.com/
Instagram: www.instagram.com/permiandesigns/
Bluesky: bsky.app/profile/permiandesigns.bsky.social
NOTE: All works featured here are completely original creations. None are made with the assistance of any form of AI technology in any fashion whatsoever.
Black Bear (Ursus americanus) having his pick of Chum Salmon (Oncorhynchus keta) that have been trapped in a shallow pool by the outgoing tide at Neets Bay, Alaska. The Chum or Dog Salmon drow teeth and develope those maroonish stripes during their final run in life, the spawn.
Salmon carcasses litter the shoreline where a satiated Bear, still wanting to fish, will taste a fish to see if it is a female with roe. If not, it will let it go. This results in wounded fish that then become prey for the many Bald Eagles that gather for this food source.
Castellanza - Maggio 2021
Hasselblad SWC
Zeiss Biogon 38 mm f4.5 + yellow filter
Bergger 400
R09 Studio 1+31 x 12 min
Triumph Herald 12/50 (1962-67) Engine 1147cc S4 OHV Production 53267
Registration Number XAR 262 E (Hertfordshire)
TRIUMPH ALBUM
www.flickr.com/photos/45676495@N05/sets/72157623847263736...
The Herald was launched in 1959, styled by Michelotti, and was offered as a Saloon, Coupe, Convertible and Van. Total sales numbered over 500,000 and the Vitesse, Spitfire and GT6 are all based on the Herald concept. Originally available with a 948cc engine.
Leyland in 1961 releasing resources to further develope the Herald. The car was relaunched in 1961 as the 1200, powered by an 1147cc engine with a single down draught Solex carburettor, and an output of 39bhp
The 12/50 was built alongside the standard 1200 (1962-67) as a Deluxe Herald with an engine of near Spitfire tune. Featuring a high lift camshaft, front disc brakes, luxury trim, padded dash and folding sunroof.
Diolch am 92,031,931 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.
Thanks for 92,031,931 amazing views, every one is greatly appreciated.
Shot 17.04.2022 Weston Park (Classic Car Show), Weston-under-Lizard, Salop 157-343
Castellanza - Scorcio Urbano
(test Nikomat ELW + Nikkor NC auto 24mm f/2.8)
Marzo 2022
Nikon Nikomat ELW
Nikkor NC auto 24mm f/2.8
Kentmere 100
Bellini Hydrofen 1+31 x 8 min
Maggio 2023
Milano - Scorcio Urbano
Olympus OM-4
Zuiko OM Zoom 28-48 mm f4,0
Kodak Eastman 5222 @250 asa
R09 Studio 1+31 x 8 min
All the different colored buds , some red, some white, some will be yellow, and some will have a brown color along with all the different shades of green found in the leaves is making for a color fest.
Busto Arsizio
Cimitero Monumentale - Ampliamento 1970 arch. Ciapparella
Settembre 2022
Hasselblad SWC (1968)
Zeiss Biogon 38 mm f4,5
Rollei SuperPan 200
Bellini Hydrofen 1+30 x 13 min
Busto Arsizio - Scorcio Urbano
Aprile 2024
Nikon FE
Nikkor AIS 28-50mm f3.5 + yellow filter 2 stop
Rollei Retro 400 S
R09 Studio 1+31 x 17 min
I know everything looks better that way, but I think this one only really works on large on black...
I've always admired photographers who develope a style and have always aspired to developing one of my own. I've always favoured the countryside over the city, but what's interesting is that the city seems to allow for a much more diverse set of styles. It's been great fun and eye opening over the last week experimenting with new techniques!
This is a 4 minute exposure comprised of 8x30s shots averaged in Photoshop! I love using this technique to give super long daylight exposures without stopping down! I ummed and arred forever about the composition / crop. It's one of those cool places where it's nearly impossible to find an ideal viewpoint!
recently acquired a Kodak recomar 18 which had a film inside. kodak panatomic x pro. decided to develope the film and this was 1 of 2 images that came out, its of Padstow harbour and i think looking at the cars its from the early 80s,
developed in ID11 for 9mins
the old customs house is still there today.
A test shot from yesterday with the Polaroid back on the RB67. A little underexposed, not sure if that is due to a cheap light meter or if I let the polaroid develope too long. Does any polaroid expert have any tips on how to pull the film thru. I seem to get these streaks (not on all the prints). This time I pulled the film thru a bit slowely, but as you can see it did some funky thing in the corners (which I kind of like). Really fun stuff....I will try to shoot a roll of 120 this weekend.
edit: for those of you that don't know, here is how this film works. You pull it thru rollers which pops a pack of some development cream...as you pull is spreads over the images between 2 layers. It takes 30sec to 3minutes for developement. Then you remove the back layer. I think that if you pull it off too soon, it under developes...too long and over developes. That's it in a nutshell.
People have been asking about my blog. I still plan to launch it soon. I just need to fine tune it a bit still.
I'm on Twitter: @isayx3
Busto Arsizio - Scorcio Urbano
Luglio 2023
Hasselblad 500 CM
Zeiss Planar 100 mm f3.5 CT*
Kodak T-Max 100
R09 Studio 1+30 x 9,5 min
Busto Arsizio - Scorcio Urbano
Aprile 2024
Nikon FE
Nikkor AIS 28-50mm f3.5
Rollei Retro 400 S
R09 Studio 1+31 x 17 min
negative scanned::Kiev 88::Arsat 80mm f2.8mc::Fujifilm Neopan Acros 100 [ self - develope ] :: Ilfotec DD-X 1+4 :: Megan Avenue Kuala Lumpur ::
model : Farah
Busto Arsizio
Settembre 2024
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Rolei Superpan 200 120
Hydrofen 1+30 x 12 min
Busto Arsizio
Scorcio Urbano
Canon IIS2 LM (1955)
Canon 50 mm F1,8 LTM + Filtro giallo -1 stop
Kentemere 100
Bellini Hydrofen 1+31 x 8 min
Busto Arsizio
Settembre 2024
FujiFilm GA645W
Super EBC Fujinon 45mm f4
Rolei Superpan 200 120
Hydrofen 1+30 x 12 min
Busto Arsizio - scorcio urbano
Giugno 2023
Leica M5
Leica Summicron-c 40mm f2
Leica Elmarit-m 28mm f2,8 ASPH
Kodak Eastman double-x 5222 250 asa@200 asa
R09 Studio 1+31 x 7 min
Gallarate - Gennaio 2022
Scorcio Urbano
Hasselblad 500 C/M + Zeiss Distagon 50 mm f4 + yellow filter -0.5
Rollei Retro 400 S @400asa
Bellini Hydrophen 1+30 x 17 min
The entry of the university library underground bike park in Freiburg im Breisgau
I edited this picture a lot to develope a very intense, dark atmosphere.
IN ENGLISH BELOW THE LINE
El cementiri de Sabadell.
Placa de col•lodió sec, mètode Major Russell (col•lodió Lea 3-taní), en format 4x5; realitzat amb una Graflex Crown Graphic fabricada cap al 1951; Graflex Optar f4,7 de 135mm; 3:15 minuts a f8 (EV 13,2).
Les plaques cobertes amb co•lodió (i anteriorment albuminades, part essencial del procés) es preparen com per a una placa humida usual. En el moment de treure-les del bany de plata, comença la diversió. Cal rentar la placa, sota llum roja, en dues safates d'aigua destilada, i seguidament, submerir-la en una sol•lució d'aigua, taní i etanol. Son uns 10 minutes per placa, en total. Un cop feta la exposició, encara més important el revelat també és per inmersió. Primer s’humidifica la placa seca amb aigua i etanol, i després es submergeix 5 minuts en una solució d’acid pirogalic i citric, amb unes gotes de nitrat de plata. Amb això s’inicia el revelat, però cal afegir més nitrat de plata passats els cinc minuts i usualment fins als 10-12 minuts.
Les plaques de col•lodió sec son força desconegudes però es varen fer servir en paral•lel al més famós col•lodió humit. Eren molt pràctiques per eliminar la necessitat de portar a sobre tots els quimics i una cambra fosca portatil, però com les exposicions son molt llargues, de diversos minuts com a mínim, en queden exclosos els retrats. Aquest tipus de procediment en concret, conegut com a mètode Russell, data de 1861.
cool.culturalheritage.org/albumen/library/monographs/monc...
ca.wikipedia.org/wiki/Sant_Corneli_de_Collbat%C3%B3
====================
The cemetery of my hometown, Sabadell.
Dry collodion plate, Major Russell process (tannin-Lea 3 collodion) in 4x5 format; taken with a Graflex Crown Graphic, made c. 1951; Graflex Optar f4,7 de 135mm lens; exposed for 3:15 minutes at f8 (EV 13,2)
The dry collodion is a quite convenient "evolution" from the wet collodion, as it allows to go out there without any box of chemicals and a dark box following you. But it never gained more popularity due to it's own problems, like even more complex manipulations and specially much less sensibility, with expositions in the minutes range, limiting it to landscape photography. This method, discovered by Major Russell in 1861, uses tannin to preserve the sensitivity of the plates once dry.
Glass plates covered with collodion (and previously albuminized, an essential part of the process) are prepared as for a usual wet plate. The moment you take them out of the silver bath, the fun begins. The plate must be washed, under red light, in two trays of distilled water, and then immersed in a solution of water, tannin and ethanol. It's about 10 minutes per plate, in total
Once the exposure is made, even more important is to develope also by immersion. First, the dry plate is moistened with water and ethanol, and then immersed for 5 minutes in a solution of pyrogallic and citric acid, with a few drops of silver nitrate. This starts the development, but it is necessary to add more silver nitrate after five minutes and usually up to 10-12 minutes.
cool.culturalheritage.org/albumen/library/monographs/monc...
Castellanza - Scorcio Urbano
Aprile 2025
Rolleiflex 2.8 C
Schneider-Kreuznach Xenotar 80mm f2.8
Rollei Retro 80
Bellini Hydrofen 1+30 x 9 min
The decision to start 365 was a total spur of the moment thing. I, as most of those who start 365, had seen people in Flickr doing it and thought it would be a great way to keep a daily journal and get better at photography in the mean time. I have been in Flickr for some years, which for most of the time has meant logging in once every couple of months to see if I had new comments (zero). I went to UK as an pair two three years ago and started getting more feedback on my pictures. I still feel it was the turning point, I got properly interested of photography and marveled other people's work more often. When you're a complete beginner who doesn't trust their skills at all getting feedback and encouragement from a real person standing next to you is SO important that I can't highlight it enough. Unfortunately I lost my enthusiasm for a year or so after I got back to Finland but at some point I picked up the camera again. I had decided to apply to an art school and while doing the photographic pre tasks I started taking all kind of pictures again. Soon after that I started the 365. It became more of a project of trying to find my own style instead of a documentation sort of thing and I'm kind of glad it did. I can't belive how much I've learnt this past year!
As you can see from here the beginning was not that great. ;) But every shot throughout the way means something to me, and looking at this first shot really reminds me of how quickly this year passed by even though it sometimes felt like it would never end.
A big thanks (accompanied with an even bigger IRL hug) to my boyfriend Niko for putting up with me and my project. Countless are the evenings and nights he had to witness me being glued to my chair, my ears closed from everything else except the soft lullaby like sound of the keyboard and eyes focused on my cheap laptop screen and the screen alone. At one point it even started to seem like my Flickr affair was starting to develope into a romance of a lifetime, but even then he stood by me regardless of my fidelity and let me keep my own thing because he knew it made me happy. And for that I am grateful! Niko also deserves the bonus marks for being such a champ and posing for me, especially when the poses in question were perhaps as boring as to walk as far away as possible and to stand there as long as I need him to and then to walk back. Or wearing angel wings in the graveyard which still makes his cheeks go red...and for that matter, mine as well. What was I thinking?
Thank you so much to every single one of you for sharing this year with me (or even a part of it!) I know I might not have always been there for you and that has sometimes made me sad. It's common knowledge I've got Flickr fatique more often than the word 'often' really even stands for. During these last few weeks and months it's been more of a rule than an exception that I've been very tired of carrying on with this project. But I am stubborn, what can I say! All you 365'ers know it's a love/hate relationship. The end part of the project has worn me down quite a lot, but I am ***so*** glad I made it to the end! :) Nothing feels better than setting a goal, reaching it and then being able to salute the freedom again.
From photography I have found the perfect medium to express myself and I am so happy about that. I've always felt artistically and creatively inclined but for a long time it seemed like I just didn't hold much talent in any particular area.
I'm not gonna say things that you usually say after projects like these. I haven't learnt to understand myself better. Instead I have learnt to accept the fact that I will probably never understand myself...always when I think I do, I'm in for a surprise the next day.
But I've decided to cherish the adventure from now on and open my eyes to new things. I've also understood I can't take as many things for granted as I have so far. It's time for me to be grateful about certain things, get more indipendent and get out of my little comfort zone that I sometimes also like to call as 'apartment'. I can't sit at home anymore and wait for the perfect opportunity to appear, I have to go out in search of it.
What will I do from now on? Some of you have asked if I'm gonna disappear from Flickr - worry not, you guys! I'm still gonna upload whenever I feel like it. Old shots, new shots, whatever strikes my fancy. At first I thought I would only upload 'great' shots once the project is over but now I've decided I'm just gonna do whatever feels good. If I take even Flickr too seriously the road ahead with everything else is gonna be very dark. So I'm planning to lighten up a little and not always see the negative side of everything. My god, how negative I've felt lately! Also I have been asked if I could do a second year of 365. I'm sorry to inform, but at the moment I don't see it as an option. I started to take this all too seriously as I already said, put it on a pedestal and felt lousy so often when I didn't reach my somewhat high standards. There are more important things than 365, Flickr or even photography - and I've been blind for too long now. It's time to have fun, reach out for things I really want and give real value to things I want to keep in my life.
I've got so much encouragement during this year, I never thought I would get to be in such a privileged spot.
All I can really say is...
Gallarate Aprile 2024
Scorcio Urbano
Leica III F
Elmar 50 f3,5 Ltm
Kodak Eastman 5222 Double-x 250asa@200 asa
R09 Studio 1+30 x 7 min
Well way back earlier this year Lisa sent me a roll of film. I was very excited, unfortunately I had loaned out my film camera to a student who needed it. During a short school break I was able to get the camere back. Funny thing about film, is that you want to converve your shots. The camera sat around because I felt nothing was worthy. As I procrastinated more the time came where she needed camera back. So I just decided to run thru the roll.
One of the great thing about film is wondering what you captured and waiting to see it once it is develope. In my case I found that half my photos were no good. For the first 12 frames I was using it in the studio. I had not really thought about it and I just started shooting. Once I got the film back I realized, this film camera does not sync with flash at 1/250th. Half my shots cuts off 1/2 way. Luckily that other half was shot in natural light.
The things I love about film is different film type adds a different look. I now want to buy different film and take more photos! Even expired film will have an affect how the images turns out. This year I hope to shoot a lot more film. A big thanks to Lisa who sent me a roll all the way from sweden. I am very sorry I was not to fit it in my 365!
Post Processing: Ask the lady at Costco
I'm on Twitter: @isayx3
IN ENGLISH BELOW THE LINE
Vistes de les minses ruïnes del castell de Lluçà, que dona nom a la comarca del Lluçanès, que s'ha de constituir oficialment d'aquí a poc, després d'una lllaaaarg temps.
Aquí foren senyors d'aquestes terres els Lluçà (fundadors del castell, de qui agafa el nom, en llatí castro Luziano), els Saportella, els Fenollet, els Pinós i els Peguera.
El castell ja és teoricament documentat el 905 (tot i que aquests documents tant antics sovint son falsos d'època medieval mateix), i fou destruit en època de la guerra dels Remences, al s. XV.
Placa de col•lodió sec, mètode Major Russell (col•lodió-taní), en format 4x5; realitzat amb una Graflex Crown Graphic fabricada cap al 1951; Graflex Optar f4,7 de 135mm; 4 minuts a f8 (EV 13,6); revelat 9 minuts en acid pirogallic.
Les plaques cobertes amb co•lodió (i anteriorment albuminades, part essencial del procés) es preparen com per a una placa humida usual. En el moment de treure-les del bany de plata, comença la diversió. Cal rentar la placa, sota llum roja, en dues safates d'aigua destilada, i seguidament, submerir-la en una sol•lució d'aigua, taní i etanol. Son uns 10 minutes per placa, en total. Un cop feta la exposició, encara més important el revelat també és per inmersió. Primer s’humidifica la placa seca amb aigua i etanol, i després es submergeix 5 minuts en una solució d’acid pirogalic i citric, amb unes gotes de nitrat de plata. Amb això s’inicia el revelat, però cal afegir més nitrat de plata passats els cinc minuts i usualment fins als 10-12 minuts.
Les plaques de col•lodió sec son força desconegudes però es varen fer servir en paral•lel al més famós col•lodió humit. Eren molt pràctiques per eliminar la necessitat de portar a sobre tots els quimics i una cambra fosca portatil, però com les exposicions son molt llargues, de diversos minuts com a mínim, en queden exclosos els retrats. Aquest tipus de procediment en concret, conegut com a mètode Russell, data de 1861.
cool.culturalheritage.org/albumen/library/monographs/monc...
ca.wikipedia.org/wiki/Castell_de_Llu%C3%A7%C3%A0
====================
Views of the meager ruins of the castle of Lluçà, which gives its name to the "comarca" of Lluçanès, which will be officially established shortly, after a very long time. It's located in central Catalonia.
Here the Lluçà (founders of the castle, from whom it takes its name, in Latin castro Luziano), the Saportellas, the Fenollet, the Pinós and the Peguera, were lords of these lands. There were constant legal and armed conflicts between the barons, the crown and the peasants.
The castle is already theoretically documented in 905 (although these very old documents are often false from the medieval period itself), and was destroyed during the War of the Remences (a peasant uprising in Catalonia), in the later XV Century.
Dry collodion plate, Major Russell process (tannin-collodion) in 4x5 format; taken with a Graflex Speed Graphic, made c. 1951; Graflex Optar f4,7 de 135mm lens; exposed for 4 minutes at f8 (EV 13,6); developed 9 minutes in pyrogallic acid.
The dry collodion is a quite convenient "evolution" from the wet collodion, as it allows to go out there without any box of chemicals and a dark box following you. But it never gained more popularity due to it's own problems, like even more complex manipulations and specially much less sensibility, with expositions in the minutes range, limiting it to landscape photography. This method, discovered by Major Russell in 1861, uses tannin to preserve the sensitivity of the plates once dry.
Glass plates covered with collodion (and previously albuminized, an essential part of the process) are prepared as for a usual wet plate. The moment you take them out of the silver bath, the fun begins. The plate must be washed, under red light, in two trays of distilled water, and then immersed in a solution of water, tannin and ethanol. It's about 10 minutes per plate, in total
Once the exposure is made, even more important is to develope also by immersion. First, the dry plate is moistened with water and ethanol, and then immersed for 5 minutes in a solution of pyrogallic and citric acid, with a few drops of silver nitrate. This starts the development, but it is necessary to add more silver nitrate after five minutes and usually up to 10-12 minutes.
cool.culturalheritage.org/albumen/library/monographs/monc...