Meg Turner

Printmaker and photographer working out of New Orleans, Louisiana. Her practice spans prints, photography, and installation projects that respond to the landscape and the community she is part of.

In addition to her own work and contract printing, Meg serves as the master printer for local photogravure and wet collodion artist Josephine Sacabo. She founded the New Orleans Community Printshop and has since stepped back from a leadership position to focus on her studio practice.

She shoots primarily with a 4×5 Crown Graphic press camera, working in film and wet collodion.

A circular portrait embedded in a dramatic magenta-to-indigo gradient field, with deep black edges framing the composition

A Beginner’s Guide To Wet Collodion Photography

Wet collodion photography is a nineteenth-century process that produces images with an unmistakable physical presence. Each plate carries small variations in coating, exposure, development and drying, so the result feels closer to a handmade object than a perfectly repeatable digital file. Depending on the surface and backing, the image may become an ambrotype on clear glass or a tintype on darkened metal.

The process is rewarding, though it asks for patience and careful preparation. Beginners in Australia also need to consider strong ultraviolet light, hot weather, ventilation and the practicalities of sourcing chemistry locally. A workshop, community darkroom or experienced mentor can make the first sessions safer and far less frustrating.

What Makes Wet Collodion Different

Wet plate photography uses collodion, a syrupy mixture that contains light-sensitive salts once it is placed in a silver nitrate bath. The coated plate must remain wet from sensitising through exposure and development. This narrow working window is the defining feature of the method: preparation needs to be calm, but the actual picture-making is time-sensitive.

The finished image has a soft tonal range, delicate highlights and a distinctive edge quality. Dust, brush marks, uneven coating and small streaks are often part of its character. That does not mean every fault should be accepted; scratches, fogging and chemical stains usually point to a process problem. Learning to tell expressive variation from preventable damage is part of developing a good wet plate practice.

The process also changes the photographer’s relationship with a subject. A portrait sitter must remain still for several seconds, and a still life benefits from deliberate arrangement. Instead of making dozens of frames, you tend to slow down, observe carefully and commit to one exposure.

Set Up A Safe Working Space

Wet collodion chemistry includes flammable solvents and corrosive materials. Ether vapour can ignite, while silver nitrate can stain skin and damage surfaces. Work in a well-ventilated area away from flames, heaters, sparks and food preparation. Wear chemical-resistant gloves, eye protection and clothing that can tolerate permanent stains.

A basic setup needs separate areas for coating and development, a stable place for the silver bath, a dark space for loading plates, and labelled containers for waste. Keep a spill kit nearby and consult current Australian Safety Data Sheets before using any chemical. Local council rules and state regulations may affect how silver-containing waste and solvents can be stored or disposed of.

Australian conditions can be particularly demanding. A garage may become too hot during a Queensland summer, while a coastal studio in New South Wales can experience salt-laden air and high humidity. In Melbourne or Hobart, cooler temperatures may slow drying and alter how the chemistry behaves. Aim for a consistent workspace rather than trying to make the process work in an uncontrolled outdoor environment.

Gather The Camera And Plate Materials

A large-format camera with a generous plate holder is a practical starting point. Many photographers use a 4x5-inch or 5x7-inch format, although larger plates can create impressive detail and a more immersive portrait. The lens does not need to be modern; older brass or large-format lenses can suit the visual character of the process, provided the shutter and aperture operate reliably.

You will need properly cleaned glass or blackened aluminium, a collodion solution, silver nitrate, developer, fixer, distilled water, trays, a darkroom light suitable for the chemistry and a way to dry or varnish the plate. Commercially prepared kits can reduce the number of variables for a first attempt. Avoid mixing chemicals from casual online recipes until you understand their hazards and have reliable measuring equipment.

For anyone near a community darkroom in Sydney, Brisbane or Adelaide, shared facilities can be useful for learning plate washing, waste handling and darkroom discipline. An art school or printmaking cooperative may also have contacts for glass cutting, chemical suppliers and large-format camera hire. Ask whether a space has experience with wet plate work rather than assuming a standard black-and-white darkroom is automatically equipped for it.

Coat And Sensitise The Plate

Begin with immaculate plate preparation. Glass must be free from grease, dust and residue, otherwise the collodion may retract, pool or separate. Clean the surface methodically and handle it by the edges. Pour the collodion in one smooth motion, allowing it to cover the plate before draining the excess from a corner. The coating should be even, with no dry patches or obvious ridges.

The plate is then lowered into a silver nitrate bath until the salts in the collodion become light-sensitive. Sensitising time depends on the chemistry, temperature and bath condition. Once the plate is ready, it is loaded into a lightproof holder while still wet. Keep a written record of the time, temperature and any unusual appearance; these notes become invaluable when diagnosing inconsistent results.

Work deliberately, but do not rush in a panicked way. A clean tray, clearly labelled bottles and a pre-measured workflow are more helpful than trying to move quickly. If the coating begins to dry before exposure, the image may develop unevenly or fail altogether.

Make The Exposure And Develop The Image

Wet collodion is relatively slow, so bright daylight is usually the easiest light source. Australia’s intense sun can be an advantage, but direct midday light may create harsh contrast and uncomfortable conditions for a portrait sitter. Open shade, reflected light or a covered verandah can produce gentler illumination. In places such as Perth or regional South Australia, strong UV levels can make exposure times shorter than a beginner expects.

Focus the camera before inserting the plate, then secure the sitter or subject. Remove the dark slide, make the exposure and replace it carefully. Exposure times may range from a few seconds to considerably longer depending on the lens, lighting and chemistry. A light meter can help, though testing is still necessary because collodion responds differently from ordinary film.

Development starts immediately after the exposed plate is removed from the holder. Pour the developer evenly across the surface and watch the image appear. Timing is crucial: too little development produces a weak plate, while too much can flatten highlights and increase fog. Fixer clears the unexposed silver salts, revealing the final negative or positive appearance against the chosen backing.

Wash, Finish And Learn From Each Plate

After fixing, wash the plate thoroughly in clean water. Residual chemistry can weaken the image or create stains over time. Allow it to dry in a dust-free place, then protect the surface with an appropriate varnish if the process and backing require it. Varnishing is a separate skill, so practise on less important plates before working on a successful portrait.

Keep every plate, including failures, alongside notes about the date, weather, chemistry, exposure and development time. Patterns soon emerge. A milky plate may indicate exhausted fixer, while dark streaks could come from uneven coating or a contaminated bath. A sudden change in contrast may relate to temperature, silver nitrate balance or the age of the collodion.

The hand-built nature of this process connects naturally with traditional printmaking and darkroom practice. Meg Turner’s artist practice reflects that wider commitment to material processes, careful making and photographic experimentation. Looking at contemporary practitioners can help beginners see how wet plate images can move beyond historical imitation into installation, portraiture and fine-art work.

Before Your First Session

Keep Beside The Camera

Start with a small number of plates and one controlled subject rather than attempting a complicated outdoor shoot. A single successful ambrotype can teach more than a hurried box of inconsistent exposures. In Australia, check local workshop listings, community printshops and photographic societies for practical instruction, then build a modest setup around the conditions you can reliably control.

Choose a sitter, still life or nearby landscape, prepare the workspace carefully and give yourself time to observe what each plate is telling you. With safe handling, thoughtful notes and regular practice, wet collodion photography becomes a direct, tactile way to make images that carry the evidence of their own creation.