The making of wet plate collodion images (tintypes) is intricately linked to traveling. Some of the early, iconic practitioners spend large parts of their careers traveling to exotic places - often to document new territories or distance wars. Roger Fenton famously documented the Crimean War in 1854 and a number of photographers traveled with the various expeditions west in the US to explore, among them Timothy O'Sullivan in 1867-68 (who - btw - had just spend years documenting the civil war).
The images they brought back were so good, both estheticly and technically, that it's hard to comprehend. Especially considering the obstacles they had to endure.
Driving a thousand kilometers through Europe from Normandy to Spain in a C3 Picasso (with aircondition) is in no way a comparable achievement. That's for sure. Still, I find it fun to muse over the similar challenges faced by people working in the same medium, with more or less the exactly same chemistry, more than 150 years ago.
One of the challenges I gave myself on this trip was to do some plates from the top of mountain passes. That obviously requited a setup light enough to carry. I usually bring a car full of gear, but this had to be scaled down.
The main thing was to build a smaller darkbox. With the help of my sister and a student of mine I made a box out of a smallish camera hardcase. That turned out to work just fine. Another thing was the camera. I usually work in 8x10, but this time I brought my 4x5 camera. That made it possible to carry camera, tripod, dark box, chemistry, a few liters of water and a special box for keeping the plates wet until I got back to the car. It actually worked.
Here's a few pictures of the setup in use of Tourmelet.