Richard Leach Maddox, a physician, offered up an idea in 1871 suggesting the use of gelatin in lieu of collodion for a surface substrate to sensitize. He would not actually develop the dry plate himself, rather giving his experiments and idea to the photographic community via an article in the British Journal of Photography. Some historians note that Maddox did not like the smell of ether in his hot workshop where he tinkered with photographic processes, thus his gelatin solution. Seven years on, Charles Harper Bennett would produce a workable and marketable process using gelatin and curing it under heat on a glass plate for several days prior to washing. Finally, a process that could be manufactured and photographers could purchase pre-made plates, make their exposures and even wait several days before processing.

Two types of plates are used, an ASA2 plate and an ASA25 speed plate. The plates are handmade to recreate the look of the 1880’s or 1890’s depending of the speed of the plate. These are glass plates, of the same thickness used in the 19th century, the emulsion is handmade, then hand coated and require a special plate holder for the size of the negative and the camera. Each plate will have its own character flaws, this is a part of the historical process. They are still used to print with the flaws. The project uses both types of plate, in 8×10 and 4×5 depending on the final print. The differences in plate emulsions are in the spectral sensitivity, the grain and gamma curve.

Today, J. Lane Dry Plates can be purchased in all of the sizes available to early photographers of the late 1800s. Jason Lane makes these plates by hand, and sells them to a growing photographic community interested in late 19th century techniques. Learning to expose plates that have an ASA of 2, as well as the careful handling of sensitized glass all contribute to the slowing-down and enjoyment of analog processes.