Newbie: Glass Plate Finishing/Display options

[Daniel Unkefer]

Makiflex JLane 9x12 Glass Plate EI 1 Key Day by Nokton48, on Flickr

Jason Lane Dry Plate 9x12cm Makiflex Plate Adapter Makiflex Automatic Key Day Full Sun. Legacy Mic-X tray developed under safelight. I'm in the process of setting up a film digitizing setup Minolta SRT Copy Stand Minolta Bellows Minolta 100mm F4 MC Bellows Rokkor at F13.5. Sony Nex 7 with SRT Adapter.

[Drew Bedo]

Thankyou Daniel.

Now the question is . . .How will you mat, frame and display this image? Will it be box mounted and back-lit? Will it have a dark background? How will it be secured in matting materials and so on.

[BrianShaw]

Have you considered treating the neg like an ambrotype?

https://www.bhphotovideo.com/explora...s-and-tintypes

Ambrotypes are extensions of the wet collodion process invented by Frederick Scott Archer, in 1848. While Archer was the first to experiment with the technique, the American James Ambrose Cutting patented refinements of the process, in 1854, attaching his name to the process. Sometimes called a collodion positive, an ambrotype is created by intentionally underexposing a glass negative and placing it against a darkened background. The light gray image recorded on the glass plate has the visual effect of a positive when viewed against a darkened back. This can take the form of fabric, paper, or even lacquer painted onto the uncoated side of the plate.

(there are many more online (and offline) resources on this topic... I just picked one somewhat randomly)

[Drew Bedo]

Ambrotype?

Ok, that means a blak=ck backing . . right?

Now, what is the way to mat it. That has to be different from a paper print as the plate is thick and heavy . . .wwhat works.?

[fatherdougal]

Ambrotype?

Ok, that means a blak=ck backing . . right?

Now, what is the way to mat it. That has to be different from a paper print as the plate is thick and heavy . . .wwhat works.?

You could either shoot it on clear glass with black backing or use a black substrate such as the black glass sold by J Lane. I know some people also paint clear glass plates if they are happy with their results.
To make a good positive gelatin dry plate (which I never managed to I should add) you would use another developer than what you would use for a regular negative. Some use HC110 with added ammonium thiocyanate while some use custom developers (such as Liranal #6).

The end results and the positive effect would differ based on a lot of things. The light it is being viewed in being one.

Looking at wet plate frames could serve as an inspiration. There are a lot of beautiful old ambrotype frames but they do seem pretty complex to diy. Some people use old broken film/plate holders and if you want a simple solution, mounting them on a simple board with silver wire could be an option as well, although you might want to test how well your hardened emulsion holds up. (this is one of my favourite examples of the framing of a wet plate picture https://youtu.be/64EDK3tIXuA )
The emulsion is, as far as I know, also pretty sensitive to environmental conditions which might steer you in one or another direction. Generally the storage guidelines for dry plates mention storage in boxes and sleeves which might not be very helpful but there are also some tips regarding the optimal temperature and humidity out there (there is also info on suitable pH levels for archival materials which might help in deciding on suitable backing materials).
I hope that this could be of some help!

[ethics_gradient]

I do wet plate collodion, and prefer to work in glass when feasible. Have done a fair bit of reading and some experimentation the last two years.

Clear glass ambrotypes were frequently backed with liquid asphaltum mixed with mineral spirits to make the image visible as a positive. If you do this on the collodion side, you are reversing the inverted image back around to the "right way", which definitely has an appeal, especially if there is any text in the image. It also creates a sense of depth to the image that I really like.

However, over time (depending on conditions, changes in temp/humidity exacerbate it) the differing rates of expansion and contraction between the asphaltum and the collodion will lead to cracking and deterioration of the image.

If you back the back/non-collodion side of the ambrotype with this same mixture, your image is stuck the "wrong way" around forever, but you don't have to worry about this kind of deterioration.

Some ambrotypes are simply backed with black velvet in their cases. I've also heard of photographers flipping the ambrotype the "right way around", backing it with a piece of blackened glass, and using balsam cement to join them together.

[Drew Bedo]

Ethics Gradient" Thanks for that real-world, experience based response. Some useful observations and suggestions there.

Fatheredougal: That video looks interesting. Looks like he is using mirror mounting clips to hold the glass in place.

[ethics_gradient]

Ethics Gradient" Thanks for that real-world, experience based response. Some useful observations and suggestions there.

No problem The suggestion of black glass is also a solid one, although it is quite dear compared to regular clear stuff from the framer's. I wound up ordering a bulk quantity from Alibaba during the pandemic as I couldn't find it for love or money here or Australia at the time; it's not *quite* as opaque as the expensive stuff... but was also not AUD$40/plate! It only makes sense for bigger quantities though (I did 40 plates each of 4x5 and 8x10), the shipping is killer.

[jnantz]

modern orotones are still being made ...
https://www.largeformatphotography.i...%94-dry-plates

Pierre Van de Vliert did/does things similar to what you are interested in
https://www.instagram.com/pierrevliert/

[Drew Bedo]

A lot of these respone are process oriented . . .and thank you for all of them.

What I am trying to ask for is how to actually mount and present whatever image has been made on glass. One example linked to in this thread was to make a sort of shadow box with the glass plate held to the backing board with the clips used to support a mirror. A good idea worth remembering.

So the question for all who are doing work with glass plates, wet or dry, is . . .how do you put it on the wall?