Concepts & processes

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FINE 3171

Course Description Students develop skills in alternative photographic techniques. Processes covered include camera-less and pinhole photography, reticulation, non-silver printing, enlarged negatives, liquid emulsions and digital/traditional crass-manipulation. Students gain insights into the relationship between ideas and experimental ways of creating images.

Stephanie Baker


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Table of Contents Photograms

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Pinhole camera

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Cyanotype

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Van Dyke Brown

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Inkjet Transfer

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Lumen Prints

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Reticulation

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Liquid Emulsion

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History Camera-less photography consist of creating photogram. The first famous photograms are William Henry Fox Talbot’s Photogenic drawings. He made these images by placing plants and other objects directly onto the photo paper and exposing it to light creating inverse or negatives of the object.

Fox Talbot, Cardamine Pratensis, 1939

In the 20th century photograms came back into the public eye thanks to Man Ray who used the fact that by exposing different objects on the paper for different amounts of time one could create a feeling of depth and motion. After Man Ray, artists started expanding on photograms by using magazines and negatives in addition to objects.

Artists

Man Ray, gun with alphabet squares, 1924

Man Ray Laszlo Moholy-Nagy Arthur Siegel Thomas Barrow Adam Fuss Joan Fontcuberta James Welling Susan Derges

Martha Madigan Kunie Sugiura Susan Seubert

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Static B&W

This photogram is of a page from a magazine. This is the overlay of both the front and the back of the picture. F11, 22 sec.+8 burn

This photogram is the same but with a groundhog skull placed on top. F11, 22 sec.+8 burn

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Chemigram This photogram is of a ground hog skull and some charms. Developer splashed on, F5.6, 15 sec.

This is the magazine/skull image except that it is Solarized. F11, 22 sec., it is then developed for 15 sec., flash for 4 sec., then develop the rest of the way.

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This photogram of the skull and some charms. Developer splashed on, F5.6, 15 sec. I was not patient enough when splashing the developer so there is no black.

This is a photogram of charms exposed the whole time, and the skull was only exposed for 5 sec.. Developer painted on. F5.6, 15 sec.

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Photogram with Negative These photograms were made while the image of the butterflies was in the negative carrier. Image to the left F11, 3 sec. with no statue then 6 sec. with the statue.

Image to the right F11, 12 sec.. with pink bubble wrap on top.

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Enlarged Photogram These enlarged photograms were created by placing part of a magazine into the negative carrier. The enlargement of this image amplifies the grain of the magazine into this stylized image.

This image was made with the enlarged magazine, as well as tracing paper directly on the paper with words written on it. F5.8, 24 sec..

This image has a glass gem placed on the paper. F5.8, 24 sec..

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Movement This flower image was made with a metal statue that has flower petals that can be opened and closed. Creating the multi layer affect was done by exposing the image 4 times each for 5 sec. each time I opened the flower so that the petals were extended further. F11.

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This image was made with a negative of the fire and an ankh necklace placed onto the paper. I then moved the chain of the necklace after 5 sec. of exposure 3 times on F11

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History The pinhole camera started first as a camera obscura which is simply an enclosed space that is dark with only one small hole for light. This hole lets the light in so that the light is projected upside down and backward from what is outside but still making a clear image. Originally used by painters to assist with the realistic nature of their paintings.

Creating a Pinhole Camera Material 1 container aluminum 1 razor blade 1 sowing needle 1 roll electrical tape

For my pinhole camera I used an old corn meal container that was a cylinder. I cut the container and lid in half. For a better fit I should have made the lid a little more than half so it fit better. I also cut the container shorter so that a 4x5 paper would fit without moving. I then cut out some chip board to create the flat side. To attach these pieces I first glued them to black paper. First I cut the 1/2’’ hole in the flat piece where I attached the aluminum with electrical tape. Finally I attached the chip board completely and covered the edges with electrical tape. For the last touch I covered the part of the lid that I planned on taping over and over with base tape so that I could use the same tape a few times and not have it tear the box up.

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Creative Pinhole Camera A creative idea I had for a pinhole camera was making it out of Legos. I have made it so that my Lego camera has a shutter that can slide over the opening that would have the aluminum attachment with the pinhole. There are also guides in the camera to hold the paper that would be placed in it.

Seeing as Legos are not light tight I have covered the whole of the inside with electrical tape. This has worked to make it nearly light tight. There is still a small amount of light coming in from somewhere that I cant find but it is only the corners.

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Inspiration

Barbara Ess, Untitled, 1997-98 from I Am Not This Body

Jerry Spagnoli, 2003-06

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Ruth Thorne-Thomsen, Liberty Head, 1978

Ruth Thorne-Thomsen, Levitating Man, 1983

Adam Fuss, Pinhole photographs, 1983-85

Adam Fuss, Pinhole photographs, 1983-85

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Adelardo Morell, Times Square in Hotel Room, 1997

Justin Quinnell, Series Mouthpiece

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jurgen Konigs, Tisch and Stuhl, 1994


Vera Lutter, Frankfurt Airport, 2001

Jim Cherry, Katie, 1987

The Legacy Project: The Great Picture, 2006

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Pinhole

This is the first successful image I created from my pinhole camera. The image has a interesting warped affect due to the fact that the paper sits in the camera curved. This was 5 sec. in sunlight.

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Here is the positive print I made. Going from negative to positive did lose some detail but it still makes for an interesting photo. 10 sec.. on F5.6.


Here I have taken a picture out of my bedroom window. The part of the curtain in the image makes it more dreamy and interesting.

The negative was exposed for 5 sec. the contact print was then placed on top and exposed at F8 for 18 sec..

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In this image my cat has posed. She did move her head creating some movement in the image, 5 sec. exposure. Contact printed 15 sec. F8

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As I have tried to use the pin holes great depth of field to create forced perspectives I find that the smaller object must be practically right in front of the pinhole or it does not work. 5 sec exposure contact printed 15 sec. F8

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I experimented with having three pinholes to see what kind of affect it would create. Here are a negative and a direct positive of the effect.

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Creative Pinhole

When I first tested my Lego camera I found that it still had a light leak despite the amount of electrical tape that I used. I find that it is an interesting image all the same, as it defines the Lego pieces that are holding the paper in place. I have reduced the amount of light leak but cant seem to completely get rid of it.

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A test to see how a direct positive paper will expose in the Lego camera. Exposure for 40 sec.

A direct positive image of my father. Due to the size of the camera it is affected by wind and so there is some camera shake in the image. 40 sec. exposure.

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Working with the larger camera it seems to me that having the paper further away from the pinhole creates and image that has more detail and better contrast.

1 min 25 sec exposure due to cloud cover. The contact print was made on F4 for 21 sec. contrast 2.5.

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Having seen better detail in my Lego camera I decided to see just how much detail it would be able to capture. 40 sec exposure

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Contact print on F4 for 12 sec. om 2.5 contrast.

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History Cyanotype and Van Dyke Brown are two popular None-Silver processes. The cyanotype was first invented by John Herschel, the processes produces a distinct blue color. Anna Atkins Fist made the process will known with her book “Photographs of British Algae: Cyanotype impressions”. This was the first book to be illustrated with photographs.

Cyanotype & Van Dyke Brown Artists Anna Atkins Karl Blossfeldt Betty Hahn Clarissa Sligh Bharti Parmar John Dugdale

Anna Hammond Barbara Kasten Mike Ware Anita Chernweski Craig Barber

Cyanotype Process Comprised of two Basic chemicals: Ferric ammonium citrate • A Light sensitive compound that changes from a ferric state to a ferrous state when exposed to UV light • Can get moldy over time but still usable if you strain the mold through a coffee filter. Potassium Ferricyanide • Causes characteristic blue color when combined with ferric ammonium citrate. • Not particularly toxic because the cyanide group is bound to the iron atom and not free to behave as a poison • Should be careful that it doesn’t come into contact with an acid because it can create a toxic gas (be sure to dispose of it with lots of running water

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Atkins, Majanthremum bifolium, 1843

Cyanotype Solutions Stock Solution A 400ml distilled water at 68 degrees 100g ferric ammonium citrate Add distilled water to make 500ml of solution Stock Solution B 400ml distilled water at 86 degrees 40g potassium Add distilled water to make 500ml of solution

Working solution Mix equal parts A&B Stock solution can be mixed in ambient light Solution should be yellow to chartreuse in color Solutions kept separately keep indefinitely Mixed solutions have a shelf life of 2-3 weeks but it’s best to use right away.


Surfaces • Many types of paper or fabric will work well • Paper must be able to withstand extended immersion times in water • Immersion technique is often better with fabric • Fabric needs to be washed several times to remove manufacturer’s sizing

Paper suggestions Rives BFK Arches hot press watercolor paper Arches Platine Fabiano Artistico Bergger Cot 320 Stonehenge HP

Starthmore Bristol Cane’s Platinotype Arches Aquarelle Somerset Book Saunder’s Waterford Kozo rice paper Weston Parchment Hehnemuhle Photo rag

Fabric suggestions 100% cotton Linen Sheets Silk Canvas Clothing

Betty Hahn, Chrysanthemum with watermark, 1982

Brushes Use different brushes for different processes and keep them separate Choices • Inexpensive foam brushes • Hake brush without a metal ferrule (metal will react with sensitizing solution) Prevent shedding • Run a single bead of super glue along the hairs of the brush where they come into contact with the wood • Don’t touch untell dry

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Coating and Drying • Mix working solution in a small plastic beaker, wide enough to fit your brush • Coat cyanotype solution in low ambient light(xmas lights work) • Coat paper lightly and evenly using quick vertical and horizontal strokes. Be careful not to let the solution pool on the surface. • The thickness and quality of your paper will determine how much sensitizer your paper wall accept. • You can double coat cyanotypes (let dry in between coats) but most papers won’t need it. • Let paper air dry on a rack or use a hair dryer on cool setting with good ventilation(point hair dryer toward back of the paper) • Paper must be “bone dry” or it will start to develop during exposure • Dry, coated paper will be a light yellow-green color. Don’t worry if it looks mottled this usually doesn’t show up after development

John Dugdale, Venini Vase, 1990-2000

• Try not to touch surface because moisture and oils from fingers can affect exposure.

Contact Printing • Negatives must be exposed in a contact printing frame • Possibilities for contact printing: Digital negatives, 4x5 negatives, ortho film negatives, photograms Loading • Place your neg. in contact with your paper (emulsion to emulsion) • Place neg. and paper in the contact frame toward the glass • Secure the hinges on the back of the frame

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Exposure • In the summer, exposures can last from 10-20 min. • In the winter or late/early day, exposures can last up to 45 min. • Underexposure is more of a problem then overexposure • It’s possible to do test strips in 5 min intervals

Checking exposures

Development

• Cyanotype is a printing out process, so you can see the print start to form as it’s exposing

Tray 1: initial wash/running water (Rinse until water runs clear and you no longer see any yellow in you print)

• Highlight details should look darker than you ultimately want them to look in your print. • Shadow areas should have a slightly solarized look (borders should look silver-gray) • Thicker papers and double-coated papers typically take longer to expose Clarissa Sligh, Reframing

Tray 2: Hydrogen peroxide* (Use a “splash” in a liter of water for instant oxidation) *Note that this step is not essential to the process. Cyanotypes will oxidize in about 24 hours, this is simply to speed up the process. Tray 3: Final wash-running water (about 10 min) (Rinsing times that are too short will leave ferric salt in the paper. Rinsing times that are too long can cause fading or loss of detail in the highlights)

the Past, 1984-94

More options Using an acid to increase the tonal range and decrease contrast. • White vinegar undiluted (decreases contrast significantly) • Vinegar & Water 1:1-1:5 ( the stronger the vinegar the less contrast) • Citric Acid and water (Use a 1% solution of citric acid (10g per liter of water) this will decrease contrast but can also cause fading. Wash print thoroughly) • Lemon juice (Complete an initial water rinse than squeeze a few lemons into a water bath)

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Digital Negative Image> Adjustments> Invert Edit> Transform> Flip Horizontal Duplicate layer Filter> Sharpen> Unsharpen Mask: Amount-200% Radius= .8 px Threshold 3 lvl File> Save as> Photoshope (new name) File> Save as> Tiff (new name) View> Proof Set-up> Custom Proof Conditions: Device to Simulate=EpsonStylusPro 9900_7900 PremiumMattePhotoPaper_MK, Rendering Intent=Re

Anna Hammond, untitled, 2001

Start by opening your image in Photoshop. Make any adjustments to the image that you wont in the final result. Image> Mode> select RGB color and set for 16 bits/channel image Image> Image Size> Document Size: scale to fit OHP/Pictorico, resolution 300 click O.K. Image> Image Rotate> 90CW for ease when printing, the image should read as a portrait Layer> Duplicate Layer In a new window Rename file and save Image> Adjustments> Curves... Duplicate both layers and then merge them.

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As I thought about what images would create an interesting cyanotype I thought about how there is no way to get away from cyanotype as a historic process and I started to think about other processes that have become historic, and so I created this “Pop Art� image.

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FirstI tested how much time it would take to create a dark blue. I used the light projector to do this in 5 min intervals.

I decided that the 25 min exposure looked the best and that is what I went with.

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This neagative I found after working with it for a bit to be too high in contrast, so that details in the light became washed out. I exposed the print for 10 min. outside on a sunny day.

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I reworked the negative to createless contrast and found that I got alot more detail. This print is for 4 min. in the exposure unit.

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Van Dyke Process Like the cyanotype, Van Dyke images are formed due to the reduction of ferric salt to a ferrous state after exposure UV light. Van dyke prints must be fixed and washed for permanence. Three basic chemicals make up the van Dyke Brown sensitizer: • Ferric ammonium citrate • Tartatic Acid • Silver Nitrate Van Dyke’s bad rap: this process gained a bad reputation for a lack of archival integrity based on inaccurate information, including fixing concentrations that were too strong and immersion times that were too long. Proper attention to the specifics of the process make Van Dykes as successful and archival as any other

McDermott and McGough, Ricky Clifton with Skulls, Plladium print, 1856/1990

Van Dyke Solutions Stock Solution A 100ml distilled water at 68 degrees 27 g ferric ammonium citrate Stock Solution B 100 ml distilled water at 68 degrees 4.5 g tartaric acid Stock solution C 100ml distilled water at 68 degrees 12 g silver nitrate

• Solutions can be mixed in moderate ambient light • It is best to mix working solution and let it sit for a few days before use • Working Solution has a shelf life of 12 months of stored in a refrigerator.

Working Solution Mix equal parts A, B, and C • When making the working solution be sure to mix them in order (A, B, then C)

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Silver Nitrate • Be especially careful in handling silver nitrate • It is caustic, harmful to skin and especially dangerous if it comes in contact with your eyes • Wear gloves and don’t touch your face when mixing chemicals or making Van Dyke prints. • If you get silver nitrate on your skin, wash thoroughly, stain lasts at least a few days. • It also stains clothes, counter tops, floors and everything else so be careful with it.

Paper Suggestions Stonehenge #90 Arches Aquarelle Fabriano Artistico Bergger COT 320 Ruscombe Mills Buxton Crane’s Platinotype Arches HP 90 # Saunder’s Somerset Whatman’s Watercolor

Surfaces

Fabric Suggestions

• Paper and fabric considerations are similar to cynotype.

100% cotton Linen Sheets Silk Canvas Clothing

• Paper must be able to withstand extended immersion times in water

Craig Barber, Thompson and Bleekcjer, Van Dyke Brown, 1990

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Brushes • Hake brush without a metal ferrule (metal will react with sensitizing solution). • Foam brushes are less desirable for this process because they absorb too much sensitizer • Label your brush and only use it for this process.

Coating • Work quickly with a light touch. • Coat evenly - horizontally, then vertically. • Uneven coating is far more apparent with this process that with cyanotype. • Once the sensitizer begins to “set up” (lose its sheen and appear more matte than wet/glossy), additional brushing and/ or pressure can adversely affect paper. • If sensitizer puddles up on paper it will end up looking really solarized in your exposed print and probably rinse off during the initial wash or fixer stage • Once paper is coated, allow it to sit for a minute before using a hair dryer. • Wash brush in distilled water and pat dry with a paper towel.

Betty Hahn, Iris with Red, 1982, Van Dyke Brown with watercolors

Exposure • Like cyanotype, Van Dyke is a printing out process • Paper must be exposed in a contact printing frame. • Exposures are much shorter than cyanotype usually around 2-6 minutes (possibly up to 10) • Look for moderate overexposure of highlights. • Keep in mind that color of Van Dykes will cool down and darken during processing and drying stages • For a longer tonal range try conducting most of your exposure in the shade and then give it a blast of sunlight in the last few minutes.

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Notes on Developments McDermott and McGough, Sentimental Education, palladium print, 1895/1989

Van Dyke Development Tray 1: Initial development in distilled water - 5 minutes (it may be helpful to add a pinch of citric acid) Try 2: Tap water with a pinch of citric acid - 2-3 min Try 3: Running water 2-3 min Tray 4: 3% sodium thiosulfate fixing bath (1-1.5 min) (30g sodium thiosulfate, 1000ml water) this exhausts vary quickly, change it every 8-10 prints. Tray 5: Perma-wash diluted 1:1 for 1 min (1 part working solution perma-wash to 1 part water) Tray 6: final rinse 20 min.

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• Using slightly acidic distilled water in the first bath will prevent overall fading and browning of the highlights (if you use tap water for this stage, chlorine in the water will react with the sensitizer resulting in silver chloride. This often prevents bright white highlights and causes the image to fade) • A 3% sodium thiosulfate fix is deliberately weak. A fix that is too strong or too acidic will result in “Bleach Back” which is when a print experiences rapid deterioration in the fixing stage. • Try a two tray fixing process to reduce chance of under-fixing. (Process for about 30 seconds in each bath). You will still need to change the first try after about 10 prints • The color of your Van Dyke print will change somewhat dramatically from the start of the process through the end. It will begin as a yellowish sepia brown, darken significantly to a dark brown/black in the fixer, and darken still in the drying process.


Alternatives • Use a formula for toning your Van Dyke prints (formulas in the Christopher James book includes: gold toners, palladium toner, blue toner using cyanotype chamicals). • Combine Van Dyke and Cyanotype to make a BVD (Blue Van Dyke) print: Use a high contrast negative with lots of texture, pattern and line. Make a considerably overexposed Cyanotype with your negative - process and dry Coat the dry, overexposed Cyanotype with Van Dyke solution diluted 50% with distilled water (working Van Dyke solution needs to be relatively fresh for this to work well). Place original negative slightly out of registration for greater effect. If Van Dyke portion is too heavy, put print in a tray with a little hydrogen peroxide to get much of the blue back. Anita Chernewski, African Dogs, Van Dyke Brown, 1985

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This negative worked well with little adjustment. I eposed the print for 3 min.

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I printed this negative three times. The first two times the negative was too thin and too high in contrast. I had to adjust the original image alot to get it to work.

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Exposed in the sunshine for 2 min.

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This was the first negative that I tried with Van Dyke and while I over exposed the image I found that I enjoyed the affect. It was exposed for 5 min.

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For my photogram I decided to try to make a receding affect my placing the gears on at 30 sec. intervals.

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Application Supplies Transfer Film Wood or other surface to transfer to Ink jet printer Digital file “Super Sauce� chemicals from digitalartstudioseminars.com Brush

Pore the solution right onto the wood and spread with brush, a think layer is good. Carefully lay the transfer film ink down. Smooth down so that all of the film it touching the wood. Wait for a few min and test the corner to see if the film will come up and leave the ink. Slowly peel the film off giving a gentle rub on the film before peeling back.

Digital file Edit a photo to how you like it and then revers the image and turn the opacity down to 80%. images with large white areas are nice to show the material underneath. Print with mate ink on the transfer paper.

Sauce The Sauce has to be mixed in a glass container. 1tbls of sauce to 4 oz of propargyl alcohol 80%, let sit for 4 hours to dissolve. It will keep for a long time just shake to re mix.

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Basic How to: Supplies • • • • •

Black and white photographic paper Spray bottle or paintbrush Glass Baseboard Clothespins (optional, but useful to clip glass to baseboard) • Light-tight box or bag • Organic materials for photgrams

• Spray organic materials with water, spray paper itself, or wet paper entirely (use a spry bottle for this or fling water on paper with paintbrush) • Place paper on base board • Quickly arrange organic material on top of paper • Flatten with glass • Set out in the sun for 30 min.-4 hours (or more!) • Fix print, Permawash and rinse • Optional-scan the print for more permanence to alter size

Jerry Burchfield, Caladium Bicolor #1, 2002

Notes • Older, outdated (even fogged) papers often work best, not just because of their age but because the emulsions were different. • Warm tone papers tend to give the best variety of colors • Plant contact creates moisture- this is an important aspect of the color shift • Moisture, humidity, temperature, time of year can all affect results • If paper sticks to glass, moisten it and it will come off • Fixing will lighten prints

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Fixer recommendations

Toning recommendations

15% sodium thiosulfate solution (150g sodium thiosulfate to 1000ml water) Use two fixing baths, 5min. wash Discard 1st bath after 8-10 prints, rotate second bath

Gold toner (50ml Part A, 50ml Part B, 900ml distilled water) Tone 3-10 min. before fixing, rinse in water in between

Or Kodak Rapid Fixer for standard fixing time.

Selenium toner (1:7-1:20) Tone 4 min. after print is fixed, permawashed and rinsed

Jerry Burchfield, Exotic at Riverside at 7 weeks, 8/4-1/11 2004

Lumen print tray order 1: Water holding bath(soak print 10min before processing) 2: Gold Toner, 3-10 min 3: Running water bath 2 min 4: Sodium thiosulfate fix #1, 5 min 5: Sodium thiosulfat fix #2, 5min 6: Permawash, 5 min 7: Final rinse, 20 min.

1: Water holding bath(soak print 10min before processing) 2: Gold Toner, 3-10 min 3: Running water bath 2 min 4:Kodak Rapid fix 1 min 5: Permawash, 5 min 6: Final rinse, 20 min.

1: Water holding bath(soak print 10min before processing) 2:Kodak Rapid fix 1 min 3: Permawash, 5 min 4: Final rinse, 20 min.

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Jerry Burchfield, Untitled #2, 2002

Jerry Burchfield, Leguminosac #1, 2000

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Jerry Burchfield, Bertholettia Excelsea, 2000


Heather Oelklaus, Leftovers series, 2009-2011

Jerry Burchfield, Psammisia Guianesis, 2002

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Right: Print was exposed for 1 hour. It was Gold toned and fixed with Sodium thiosulfat. Pg 58: Print was exposed for 1 hour. It was then Gold toned and fixed with Sodium thiosulfate Pg 59: Print was exposed for 30 min. It was then Gold toned and fixed with Kodak Rapid fix

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Left: Print was exposed for 30 min. It was not toned and was fixed with Sodium thiosulfate

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Definition: A technique used to create unique textures and manually distort film. Cased by extreme temperatures of film developing solutions or by submerging previously processed film in a combination of hot water and sodium carbonate. Result- emulsion crinkles, silver particles migrate, clamp together and form a variety of patterns.

Film for Reticulation Results for this process can be quite unpredictable and may vary depending on the film you use. Film-related factor that may affect your results: 1. Film used: Tri-X works best (also try ilford B&W films) Avoid T-Mx, the emulsion is typically to hard Age: Older films don’t work as well because the emulsion hardens Chemicals: some people believe you should use a non-hardening fixer Sodium carbonate: May not need to use at all if non-hardening fix Temperature of water 2 Film Format: Medium format is ideal Larger format film is easier to inspect during the process 35mm film can only be enlarged so much before patter is overwhelming 4x5 film may need to be enlarged a lot to see patter at all

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Simple Reticulation Simple Reticulation creates an overall pattern but the film generally stays in tact.

Eric Handle, 2004

Process 1. Mix 30g sodium carbonate in 500ml water at 140-150 degrees F. Use an electric coffee pot as a source for hot water Or put solution directly into a pot on a burner and submerge negative If temperature are too low the negative will take too long to reticulate If temperatures are too high film base will get distorted and emulsion my slide off 2. Link paper clips together as a way to hold onto neg. In medium format or larger this may leave a mark Use the sprockets on the 35mm neg to hook the paper clip on 3. Immerse film Leave in solution for 5-20 min. or until you see results Check regularly, the effect can happen all at once 4. Rinse in cold water You may need to rinse several times to remove sodium carbonate residue Crystallized sodium carbonate may make a patter you like 5. Hang to dry Taping negative to negative carrier may be necessary for printing.

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Radical Reticulation Radical reticulation occur when the pattern of simple reticulation becomes so large that the emulsion begins to detach and dissolve.

Raina Dutton, 2008

Process 1. Mix 15g sodium carbonate in 500ml water at 140-150 degrees F. you can also try an even weaker solution of 7.5g sodium 2. Link paper clips together as a way to hold onto neg. 3. Immerse film Leave in solution for 5-20 min. or until you see results Check regularly, the effect can happen all at once if you are not placing neg directly in a pot on a burner, you may need to reheat Sodium carbonate does not get exhausted but it does get dirty as gelatin dissolves Solution can be filtered and repeated or simply mi up a new batch 4. Rinse in cold water You may need to rinse several times to remove sodium carbonate residue Crystallized sodium carbonate may make a patter you like 5. Hang to dry Taping negative to negative carrier may be necessary for printing.

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Veiling Veiling happens when individual pockets of pattern begin to open up and dissolve in large areas.

Justin Zupancic, 2008

Process Use same procedure/solution as Radical Reticulation Hold film in vertical position so pockets fill with water and rupture Some portions of emulsion will cling to the base, others will lift, or break open Gently push emulation to center Carefully manipulate emulsion, stretch and twist it Note that the base of film will probably get distorted Take care with dust and dirt

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Differentail In differentail reticulation, use a mask to protect certain areas of the emulsion from reticulating.

Process 1. Selectively coat emulsion with Art Masked, Liquid Friskett or rubber cement. 2.Process as normal (Avoid agitation or air bubbles may affect pattern 3. Remove mask with a piece of masking tape after film is dry Note: You can halt reticulation at any time with cold water then begin again with hot solution this could allow you to make several resists and have reticulation occur at varying levels on your negative.

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Simple Reticulation 10 min in boiling water to ice bath and then another 10 min. in the hot water to ice bath. This negative is 2 years old but it reticulated well. The rolls of fil, I took this semester where all over lapping, so my camera is not advancing correctly.

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Pg 68: F5.8, 12sec, contrast 3 Pg 69: F5.8, 12 sec, contrast3

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Simple reticulation with veiling. 10min. in the hot water then into the cold water bath and then 10 more min, in the hot water and into the cold water once more. This negative is 2 years old but it reticulated just fine.

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Pg 72: F5.8, 12 sec, contrast 5 Pg. 73: F5.8, 15 sec, cpmtrast 5, 5 sec doggeing on the left.

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There are several brands of liquid emulsions on the market: • Rollei Black Magic • Fomaspeed Liquid Emulsion • Fotospeed Liquid Graded Liquid Emulsion • Rockland Colloid AG Plus Emulsion • Rockland Colloid Liquid Light(cheapest and smallest quantities) All are “Blue Sensitive” like standard black and white papers, this means that the emulsion only responds to blue content of visible light. Emulsion is “Safe to use with red(not amber) safe light. Only open the bottle in safe light conditions Consider quality of storage before buying a bottle of liquid emulsion. The bottle should be stored in a cool place or the refrigerator. Liquid light is the least temperamental in terms of storage.

Selecting a Neg. The process is similar to regular black and white printing once the surface is coated. Select an image, use a well exposed negative with a wide tonal range.

Avoid an image that requires a lot of burning and dodging

use an image with the correct contrast for the emulsion(grade 3)

Remember that you can also control

contrast with alternative developers

For digital options, contact print digital neg.

Materials Porous materials: Paper and Fabric need to be porous enough to hold emulsion. Coat directly. Absorbent paper and fabric may need 2 coats or more (allow emulsion to at least partially dry between coats). Fabrics (especially new) should be washed and dried before coating. Fabrics may need to be stretched on canvas stretchers or wooden frame Metals, Plastics, wood: Require an oil base pre-coat like glossy polyurethane varnish for good adhesion. It’s also possible to use a primer paint or

Artists

household enamel for pre-coat. Metals (iron, steel, copper, brass, zinc) will react with emulsions and probably cause fogging so they need to be lacquered or varnished (except anodized aluminum which can be coated directly after cleaning)

Angus McArthur Gary Kirkham Nikolas Pachen Jane Quinn Jo Ashe Chris Nash Lana Wong Jill McArther Susan Suebert

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Canvas: If primed with oil based paint, there is no need to treat further. If primed with gesso, needs a coat of polyurethane varnish Glass and Ceramics: May require a “subbing” solution (a process of washing with sodium carbonate then coating with gelatin). this allows surface to accept, hold and fuse emulsion to the surface.


Process 1. Prepare the emulsion Plunge the unopened bottle into hot water (at least 130F) until the emulsion turns liquid Don’t shake the bottle because bubbles will form Always use plastic containers to store liquid emulsion because metal can fog. Once liquefied you can store the emulsion over and over. Remember, only open the bottle under a safe light 2.Coating Make sure the surface is clean Apply varnish before coating if necessary Use a foam brush, hake brush, roller, sponge, or spry bottle to coat Extra porous materials may need two or more coats Make sure emulsion isn’t applied to thickly or it will cause inadequate fixing and rinsing 3. Drying Dry material completely with hair dryer

Susan Seubert, Papaya, 2003

It’s possible (but not idea) to expose when gel has set even if it’s not completely dry Speed drying process by putting coated material in the refrigerator Maker sure material is stored in a light tight box or envelope 4.Exposure Coat several pieces of the same surface material to use as test strips Create test strips just like normal Use white light when printing 5.Chemical processing Developer Use print developer, same dilution as we use normally Develop normal Can use a sponge or brush soaked with dev. for large prints/odd surfaces

Mike and Douge Starn, ATL B, 1998-2001

Stop bath Use a brief rinse of cool water to remove excess developer (10-15sec) Don’t use acidic stop bath Fix Fix until chalky areas of emulsion turn transparent,agitate to remove unused silver Rinse and dry 10 min in cool running water until emulsion is leathery to the touch Blot and dry on screens Flatten in a dry mount press set at 150

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Double coated Acrilic paper F5.8, 12sec.

Double coated Acrilic paper F5.8, 12 sec

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Double coated water color paper F5.8, 21sec.

Double coated water color paper F5.8, 24sec.

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