Ambrotype is technically a variation of the wet collodion negative. There are some differences in processing chemicals and the ambrotype is underexposed with a dark backing, otherwise the processes are basically the same. Likewise the tintype is a variation of the wet collodion negative, but with a darkened iron plate as a support. See the “Tintype” ID page for more details.

Pannotypes are another related processes. The collodion image was transferred from glass onto a new secondary support usually of black oil cloth, patent leather, or black enameled paper. The collodion glass plate was placed in a bath of acidified water causing the film to shrink and begin to detach. The new support was then also placed in the water and the two were put into contact. Both were taken out of the bath and squeegeed together. Gentle heat applied to the glass caused the collodion to fully detach and adhere to the new support.

The main variations within the ambrotype process is in the finishing—the way in which they are backed with a dark backing. Black varnish could be applied to the glass side of the image plate. These images are laterally reversed and typically have a cover glass to protect the binder. Black varnish could also be applied to the collodion/image side of the plate. These images appear correct (not backward) and may or may not have a cover glass. Relievo ambrotypes were made by applying black varnish just behind the image of the sitter and scraping away the collodion surrounding the image of the sitter. Glass was often placed behind the image plate as well as a light colored or white card. The image cast a shadow onto the card creating a three-dimensional effect. There are alternate ways to achieve the relievo effect, though this is a common way. Dark glass could be used which eliminated the need for a black backing; these are called ruby glass ambrotypes. Virtually any dark material could be used instead of varnish. Black paper, cloth, and even unused tintype plates can be found.