19th Century and Contemporary Wet Plate Collodion Compared

Find one contemporary photographer who works with wet plate collodion, ambrotype, or ferrotype. Then find a 19th-century photographer who worked with the same process. Compare and contrast their uses of the process. Neither artist you choose may be mentioned in the module.

Embed one example by 19th-century photographer and one example by the contemporary wet collodion photographer into your paper.

In your paper, identify how the contemporary artist employs the process generated visual effects of the older process with direct reference to your example.

Caption your examples by author, title of your photograph, date, the process used and cite the source in your caption and list your example in your works cited notation.

Remember you are required to cite any source from which you paraphrase, summarize or include direct quotations, including the textbook and the module readings. Cite all sources using an in-text citation and list all sources in a works cited notation at the end of your paper

Also Note: “Visual effects” refers to the unique appearance of contemporary wet collodion photography and in particular the streaks, edges, and colorization of contemporary wet collodion photograph. When discussing the “visual effects” of contemporary wet collodion photography refer directly to specific examples that you include in your paper. Point to the “visual effects” that we can see and make inferences to what the artist is expressing through these effects.

In your second History of Photography Writing Assignment, please remember to pay attention to how the contemporary artist employs the visual effects of the older collodion process. Be sure refer directly to the visual qualities of the collodion process. Point directly to and identify the visual effects in a relevant example.

Our discussion of the “visual effects” of the contemporary use of the wet collodion process will being our investigation of a photographer’s language, or those aspects of visual appearance of photographs which are a direct result of the photographer’s engagement with photographic attributes.