Glass Negatives

[WmRenick]

Good day to all

I am a senior citizen and have enjoyed the wonderful world of LF photography for about five years now. 5x7 is my preferred format. I am a volunteer at our South Central Kentucky Cultural Center/Museum here in Glasgow, Kentucky. We recently recieved a donation of 43 glass plate negatives. I have made a basic scan of each and have made a few prints in my darkroom. I am very impressed with the detail of the images. This is the first time I have ever had the opportunity to work with glass plates. I want to classify and give a better description of them. Also is there a way to distinguish between a wet and a dry plate? I hope to convince the center to have a showing of them. My main interest is twofold: One to honor the photographers that made them and to make, when possible, a historical connection locally.
I want to exhibit them in two forms. As is done now, digitally, but also some prints from the darkroom. Contact prints are such a joy to see. Most are 3.25x4.25 but some are a beautiful 5.0x8.0. Hoping that the public can see and learn the difference of the two processes.
Any suggestions on a good, not elaborate paper? My darkroom skills are average at best.
I have noticed the difference on some of the negatives. The background does change the appearance on some but not others. I "assume" they are ambrotypes. I would like to understand ,how and why, the change takes place. Also why do the others not? Finally how best to store them.

Again my thanks to you
William Renick

[Jim Noel]

Glass plates exposed and developed as Ambrotypes are very thin and when viewed on a dark background invert to positives. Glass plates exposed and developed as negatives to be printed, usually as a salt print, exhibit longer scales and the highlights are very dense as seen looking through the glass. These are best printed as salted paper prints since their range is far too great for any manufactured paper I know of. If printed on gelatin silver paper, even Grade 0, become "chalk and soot" prints.

[Bill_1856]

You might try some LODIMA paper from Michael Smith, developed in dilute AMIDOL or ANSCO 30.

[Jim Noel]

You might try some LODIMA paper from Michael Smith, developed in dilute AMIDOL or ANSCO 30.

That is still too contrasty for a glass negative to produce a full scale print.

[Bill_1856]

The thumbnails look pretty good.

[WmRenick]

Thanks to those that responded.

[David R Munson]

Glass plates exposed and developed as Ambrotypes are very thin and when viewed on a dark background invert to positives. Glass plates exposed and developed as negatives to be printed, usually as a salt print, exhibit longer scales and the highlights are very dense as seen looking through the glass. These are best printed as salted paper prints since their range is far too great for any manufactured paper I know of. If printed on gelatin silver paper, even Grade 0, become "chalk and soot" prints.

If we're talking well-made negatives, perhaps, but a lot of the amateur glass plates I've seen have been on the thin side. Mostly Seed's glass plates, they would have printed easily on silver gelatin paper, some even needing probably grade 3 or higher for decent contrast. If any of OP's negatives are on the thin side, normal enlarging paper should work just fine.

OP: how are you doing the digitizing? I did a similar project last year and worked out a good system shooting tethered into Lightroom. Details here (http://photo-otaku.com/digitizing-orphaned-glass-negatives/).

[Andrew O'Neill]

Those are really special. Thanks for sharing them!

[rbultman]

Hi William,

Are the plates from the area? I'm up in Louisville and would love to see an exhibit once completed. It will give me an excuse to check out the trains too. :)

Regards,
Rob

[WmRenick]

Hi William,

Are the plates from the area? I'm up in Louisville and would love to see an exhibit once completed. It will give me an excuse to check out the trains too. :)

Regards,
Rob

Hi Bob
There are 43 altogether. Two are from cemeteries. A William Edmunds and Daniel Curd. Both from the Barren county area. The rest are portraits and residences, without any identifying lettering. The Daniel Curd is probably the most historic. He was surveyor who started in 1799. Though there is considerable information about him, no one can say for a certainty where he is buried. One of my goals is to photograph the Edmunds cemetery with my 1900's 5x7. It will be a while before we get them ready to exhibit. It will be at the South Central Kentucky Cultural Center here in Glasgow. I'm sure I post the dates as it nears.
Thank's for the interest.