I see you're already familiar with Borut Peterlin, and he makes large wet plate negatives in situ as his primary photographic activity. Borut transports all his materials in his land rover, in difficult terrain, and his chemistry gets jostled a LOT in the process (there's a video of him opening up his glass plates box to discover them all smashed by the time he arrived at his destination). He's a no-nonsense photographer and is very familiar with his materials, and wouldn't treat his chemistry like this is it were a genuine hazard risk. Vibration/shock isn't likely to be a serious issue with collodion, but I would avoid transporting raw Ether, for numerous reasons (its just too volatile, and there's no need to bring Ether with you anyway. You CAN carry 50/50 Ether/Ethanol if you want, which is much more stable than plain Ether) I'm not sure how practical it would be to transport all of the required materials on a motorbike, and you'd better be pretty sure you're not going to go where dropping the bike is a significant risk.
That said....
Plastic bottles are recommended for transporting the silver bath outside the home/studio. There are specific plastics recommended for chemical transport - look it up. I keep my silver baths in laboratory grade glass bottles when not in use, and I feel they are safe in my environment. When I take the portable darkroom out on the road, I load my silver bath tank in advance and travel with it braced upright in a box, wedged in the back seat. I use the Lund travel bath style box, and mine does not leak when jostled (though I've heard some folks have experienced minor leaking: YMMV)
Collodion should definitely NOT be stored in plastic containers, period. The solvents will eat into the plastic. Just don't. I transport collodion in tightly-stoppered Erlenmeyer flasks, or glass bottles, but if you don't like the notion of using glass, I recommend the aluminum IP3 chemical storage bottles that Brian at UV Photographics sells (and uses for his products). See:
http://uvphotographics.com/aluminum-bottle-500ml-ip3/ Those IP3 bottles could be used for storing/transporting a silver bath as well, I believe.
A note about the silver bath and its maintenance: if you keep your silver bath meticulously clean (regular filtering and periodic sunning/maintenance, then there shouldn't be anything suspended in the bath to settle out during transport. I have not had issues with a silver bath being transported. I can imagine you MIGHT have a problem if you were not keeping your bath properly filtered (generally after every use), but if you keep it very clean, this will not be an issue.
The Eskimo fishing huts are not completely light safe without some amendments. You'll have to light proof seams, etc to make it usable for your purposes. These huts are not recommended for warm climates, as the temperatures inside can easily exceed ideal (and safe!) parameters very quickly. They must be aired out between plates as well, to avoid gassing yourself to death with Ether fumes. Be smart, be careful, and you'll be fine.
As for measuring/evaluating UV levels, there is no easy way to do this. Most wet plate practitioners start out trying to use a light meter, and quickly find its a poor tool for getting accurate readings for wet plate work. I recommend you simply start off making a "test strip" plate before making subsequent plates. After some experience, you will be able to look at a scene and guess the exposure, and you'll be surprised how often your first guess is very close! Trying to figure out how much UV is available in any given scene is going to mislead you more than help you: there's no way to know, and trying to guess is adding a variable you don't really need to know. Just make a test strip and everything else will flow logically from there.
This is the only truly reliable way to determine correct exposure for the scenario you're in. Making a test strip plate to determine correct exposure:
https://www.lundphotographics.com/in...st_plates.html
And if you haven't attended a workshop (or private teaching) for wet plate work, then do so if you can find one, or get yourself some GOOD books on the subject. John Coffer's manual is excellent (though not everyone enjoys his "casual" writing style) and Quinn Jacobson's 2019 edition of Chemical Pictures is also very good (though Quinn's book would have benefited from an editor, IMO). The Scully & Osterman manual is very good as well, but doesn't go beyond the basics of technique.
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