I'd say the darkest one is still slightly overexposed, but you get the idea of what overexposure looks like with the others.
Give your plate a final rinse in distilled water after using a detergent or modern glass cleaning chemical. You do need to vigorously clean the plate using whiting or rottenstone. Those are essentially calcium carbonate or chalk, soft abrasives that won't scratch glass. Soft scrub cleansers are the same thing but with other stuff like perfumes in them so they should not be used for wetplate. Go to a paint or stained glass store and buy some whiting. It is super inexpensive and should solve the problem. Clean the plate with whiting and be sure to get it all off again as it will harm your silver bath pH if any is left on the glass, especially caught in the rough edge. And, get some egg white (albumen) and dip a cotton swab in it. Run the cotton around the edge of the plate so that it comes in about 1/8" on the surface you pour the collodion on. That should really solve the peeling problem. FWIW, salted collodion made with cadmium salts are more prone to peeling and I believe the kits use Old Workhorse which is a cadmium-based formula.
Yeah. Rough handling with the fluid wave of developer can cause problems. The collodion might tear around the edges and then peel or there may be a dark spot where the developer first hits the plate if you pour the developer. Any unevenness in swiftly getting the plate evenly covered with a thin layer of developer will cause some sort of development artifact. If you must use a tray, collect all the developer in one end, place the plate in the tray above the reservoir of developer, and then tilt the tray so the fluid goes over the plate as a wave. You'll figure out which method works best for you in a short time. The key is to get a thin layer of developer, the minimal amount you can coat the plate with, on the plate as evenly as you can and give it gentle agitation while keeping the fluid from running off the plate. Too little or too much fluid is not good.Positive side it works but I do not really have an idea of how to figure out my exposure and when to pull from the developer. Also why i am thinking about it does it matter if i pour the developer or drop it in the tray like paper? would any of that handling cause the collodion to lift?
And, absolutely do this: DEVELOP YOUR PLATE FOR A SPECIFIC AMOUNT OF TIME AND DON'T TRY TO PUSH (OR PULL) THE DEVELOPMENT BECAUSE YOU WILL FOG THE PLATE CHEMICALLY. ADJUST YOUR EXPOSURE TO GET GOOD RESULTS AT THAT CONSISTENT DEVELOPMENT TIME. For positives, most people use a time between 15 -30 seconds, but only one consistent time in that range. Pick 20 seconds and stick to it while adjusting developer strength and exposure to optimize your results at that specific time. Don't vary from that development time.
One other thing that you mentioned might be a problem. I've never had luck getting regular glass to fit in a Brownie. It's too thick and prevents closing the camera properly, at least the ones I have. Aluminum works fine however. But, if the back isn't closing properly, you might have a light leak as a result that could fog your plate. Might not be a concern with your equipment.
As far as the roomlights and the silver bath, I pour and sensitize under red safelight conditions and never have a problem even with the plate a couple feet from the bare red lamp. You can see the proximity of the silver tank and the cheap, bare, 13w red fluorescent lamp in the following picture:
I would not sensitize under ambient tungsten or daylight fluorescent lighting. Just eliminate that variable. If you must, pour the plate under room lighting , once the collodion sets for about 30-45 seconds get it in the silver tray/tank, and then cover that while the plate sensitizes. Transfer the sensitized plate to the camera either under safelight or in total darkness to eliminate the possibility of light fog from the procedure.
Having said that, 'togs in the mid-1800s didn't have electricity for safelights and so they used candles at some distance or behind ruby glass as safelight illumination. But then there's that thing about open flames and ether... no wonder the unlucky ones had explosions occur.