View allAll Photos Tagged EMULSIVE
Motiv: Topinamburblüte Emulsion: Saft von roten Weinbeeren Belichtungszeit: 1 Tag (ca. 6–10 Sonnenstunden)
Schritte:
Saft gewinnen: Rote Weinbeeren zerdrücken, durch ein feines Sieb oder Filtertuch pressen.
Papier beschichten: Den Saft gleichmäßig auf Aquarellpapier auftragen. Trocknen lassen.
Motiv auflegen: Eine echte Topinamburblüte oder ein Fotonegativ der Blüte auf das beschichtete Papier legen.
Belichten: In transparenter Plastetüte vakuumieren und 1 Tag lang direkter Sonne aussetzen.
Ergebnis: Die belichteten Bereiche bleichen aus, das Motiv bleibt sichtbar. Nicht fixieren – lichtempfindlich! Kühl und dunkel lagern.
Motif: Jerusalem artichoke blossom Emulsion: Red grape juice Exposure time: 1 day (approx. 6-10 hours of sunlight)
Steps:
Extract the juice: Crush red grapes, press through a fine sieve or filter cloth.
Coat the paper: Apply the juice evenly to watercolour paper. Leave to dry.
Place the motif: Place a real Jerusalem artichoke blossom or a photo negative of the blossom on the coated paper.
Expose: Vacuum in a transparent plastic bag and expose to direct sunlight for 1 day.
Result: The exposed areas bleach out, the motif remains visible. Do not fix - light-sensitive! Store in a cool, dark place.
Мотив: Цветок иерусалимского артишока Эмульсия: Сок красного винограда Время экспозиции: 1 день (около 6-10 часов солнечного света)
Шаги:
Извлеките сок: Раздавите красный виноград, отожмите через мелкое сито или фильтровальную ткань.
Покройте бумагу: Равномерно нанесите сок на акварельную бумагу. Оставьте до высыхания.
Разместите мотив: Поместите на мелованную бумагу настоящий цветок иерусалимского артишока или фотонегатив цветка.
Экспонирование: Упакуйте в прозрачный полиэтиленовый пакет и выставьте под прямые солнечные лучи на 1 день.
Результат: Открытые участки обесцвечиваются, мотив остается видимым. Не фиксировать - чувствительны к свету! Храните в прохладном темном месте.
skater_ carlos J.
Lienzo 44cm x 12cm
Tecnica: Tecnica: extraccion de emulcion polaroid. Trabajada sobre papel con pincel y a mano.
(emulsion lift from a polaroid)
Kodak Ektachrome 100VS shot at EI 100
Color reversal (slide) film in 35mm format
Cross processed
emulsive.org/photography/abc-housing-kodak-ektachrome-100...
Photography
#2015_April, #35Mm_Format_Film, #Cross_Processing, #EI_100, #EMULSIVE_Daily_Photo, #ISO_100, #Kodak, #Kodak_E100VS, #Kodak_Ektachrome_100VS, #Slide_Film__Color_Reversal
Mendocino Coast
Polaroid Emulsions Lift.
PX 70 Color Protection on Noble Vat.
Part of the exhibition "Abheben!" in Düsseldorf/Germany.
This one is available as a 20 x 20cm print here: My DaWanda Shop
Polaroid SX-70 Alpha Model 2
Polaroid B&W i-Type Film in SX-70 cartridge with ND filter
Emulsion lift on watercoloured cardboard
Emulsion made from red pepper and a tiny amount of alcohol.
Contact printed with a fern and exposed for 2 days.
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Earlier this year I started a new series of articles with Hamish over at 35mmc. I say “with” but in reality, he posted the idea with a call for submissions on Twitter and I strong armed my way into the whole thing in the spirit of collaboration.
Hamish didn’t seem to mind and ...
More at:
emulsive.org/articles/emulsives-most-popular-5frameswith-...
Filed under:
#film, #filmphotography, #believeinfilm, , #Articles
For this emulsion lift print I decided not to trim off the white border of the Polaroid print before separating out the layers. The purpose of the white border is to cover up the edge of the emulsion layer which is irregular and blackish/yellow. Not trimming the white border leave this black/yellow border in tack on the emulsion lift print.
(Actually I did rim off the bottom frame off the top image, the top and bottom frames off the middle image and the top frame off the bottom image!)
Finally got around to spending some time working out the image corrections needed for printing on Polaroid B&W iType on the Polaroid Lab Printer.
Then spent some more time getting the lift process "perfected". The B&W film has a milky coating (which doesn't appear to come off) on what would be the top side which reduces contrast of the lifts. I "fixed" this by flipping my images before printing and mounting the lifts milky side down.
Very fresh prints and very hot water make the separation of Polaroid layers quite simple.
Manipulated Polaroid SX-70 print of a TV set and a Ninja punching bag in a room with a 1960s era carpet.
This was my first attempt at Polaroid print manipulation. I pushed the surface/emulsion of the print with a wooden popcycle stick just after exposure while the emulsion was still wet. I quickly realized how this technique could be used for future design and photography projects and added it to my imaging tool kit.
Emulsion Lift
danny fuenzalida
Tecnica: Tecnica: extraccion de emulcion polaroid. Trabajada sobre papel con pincel y a mano.
Emulsion Lift
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It’s time for the latest EMULSIVE interview and today’s victim subject is no slouch. Get comfy and slide into the words and work of Matt Parry.
Over to you, Matt.
Hi Matt, what’s this picture, then?
ILFORD Delta 400 Professional / 35mm, Nikon F55. Cemetery worker ...
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Read on at: emulsive.org/interviews/interview-186-i-am-matt-parry-and...
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Filed under: #Interviews,
#shootfilmbenice #filmphotography # believeinfilm
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Ladies and gentlemen, esteemed readers and all of you who have no idea what this website is, welcome to two years of EMULSIVE! Time really does fly when you’re having fun or in my case, burning film.
As luck would have it, a slot in my editorial calendar just happened to be open on June...
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Read on at: emulsive.org/articles/two-years-of-emulsive-a-retrospective
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Filed under: #Articles #EMULSIVE #YearTwo
I'm posting the setup shot of the lighting I used to do the emulsion "art" that's the previous image in my photo stream. The lighting for the setup shot itself involved bouncing a bare YN560 at full power off of the ceiling above the emulsion. The flash was triggered by a Yongnuo RF-603N.
People seem to find the setup shots helpful, and I have an album of them in my creatively named "Setup Shot" album. www.flickr.com/photos/9422878@N08/albums/72157642517882554
Pentax K1000
SMC Pentax 55mm f/1.8
Mystery Emulsion 200 (10 years+ expired)
June 2020
Just a family I encountered walking down our street.
Unknown film stock from disposable/one-time-use camera found at the thriftstore.
Developed by Gene's Camera in South Bend, IN.
I had a moment of madness earlier in the year, and had a bit of a crisis about my Polaroids - mostly because whenever I exhibit my stuff is so tiny that it takes hundreds to fill a space...
This means that then they are overlooked, as there are hundreds and it's overwhelming. So I tried to think big, and I'm not good at thinking big these days after thinking small for so long...
After a failed attempt at a huge landscape shot on PX680, and tearing my hair out over it, I settled on trying to incorporate many of the things my photography is about into one piece. This is a sibling piece to the much bigger Balfron Tower piece. This actually came about accidentally, because everything worked together so perfectly...
Originally I had intended to include much more of Dungeness in the big image, but instead settled for little parts of beach and horizon, ignoring the power station altogether. But something about this just 'worked' and so one evening I laid off the big one, put my hunched back aside, and concentrated on this.
I am not sure which I prefer to be honest. This is smaller, less impressive perhaps, but captures more of what my work is about, and more of the essence of one place. And we all know how much I love Dungeness...
This time this is an A3 sized Polaroid emulsion lift montage/collage/mosaic, or whatever you want to call it! As most of you know, made by floating the emulsion off of Polaroid 669/id-uv film and then placing the loose emulsion onto a receiving sheet of paper (or whatever you like!).
The title comes from a physical description taken of Emma when we were stopped and searched by the police for trespassing on power station property. When we were let go, and drove off in the car I noticed that they couldn't work out her eye colour and wrote "N/A" under 'EYES'. A blind driver, wonders never do cease...
The rest of the piece was shot in Whitehall, Whitstable (Kent), Ireland, and London's South Bank.
Shooting these composites put so much stress on my cameras that my 600SE lens locked and is now at the doctors, my 180 died completely, and I had to fashion a working camera from a 250, and two broken 180s and a broken 195. STRESS!
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It’s impossible to understate Tony Vaccaro’s contribution to the 20th century, be it in his role as World War II combatant and documentarian, or his post-war work in fashion and portrait photography. He is a man who, in his own words, “went after the best”, and for the ...
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Read on at: emulsive.org/interviews/interview-185-i-am-tony-vaccaro-a...
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Filed under: #Interviews, #Argus, #ArgusC3, #EMULSIVEInterview, #Hasselblad, #Kodak, #Leica, #LeicaM3, #SaintBriacSurMer, #TonyVaccaro, #VaccaroStudio, #ViktorHasselblad, #WorldWarII
#shootfilmbenice #filmphotography # believeinfilm
Bromoil on liquid emulsion from Foma, 24 x30 cm.
Leica M6ttl, 50 mm elmar (? - don’t remember, could have been the Noctilux)
Ilford Delta 100 in DD-X
Acrylic gel lift (not transfer). I've been playing with this technique, trying - with limited success - to imitate Polaroid emulsion lifts. I don't care for the cloudiness caused by remnant paper fibers in most gel lifts I've tried, so instead of printing the image on paper, I printed the image on inkjet transparency film and coated it with acrylic gel. After that I treated the film just as you would for a Polaroid lift. Tricky, delicate business, at best. Sometimes the gel dissolves and smears the ink, sometimes the gel lifts but the image doesn't, but if you get just the right combinations of transparency, gel, and printer, it works, sort of... This one is Liquitex matte medium on HP inkjet transparency film (a thrift store find), printed on my trusty Epson R2400 - K3 inks. Lifted and "floated" onto cold press watercolor paper. The image was captured with my iPhone and the Hipstamatic package that makes things look like tintypes. The wrinkles are mine :) Image is about 5x5in.
Emulsion Lift using Polaroid 669 film and a lumen print. On Arches watercolor paper.
Blogged:
whitecottontee.blogspot.com/2010/11/emulsion-lifts-proces...
Bromoil on liquid emulsion from Foma.
Leica M6ttl with 50 mm Elmar and Ilford HP5+.
A little bit carelessly when coating the emulsion, but like it :-)
russellmoreton.tumblr.com/archive
I do not start with the idea but with the experience
Peter Lanyon
The Experience of Landscape
Paintings, Drawings and Photographs
South Bank Centre
An Anthropology Of Landscape
Christopher Tilley, Kate Cameron-Daum
The Poetics of Space. Gaston Bachelard.
The classic look at how we experience intimate places.
The Eroded Steps. Giuseppe Penone.
Dean Clough Contour Lines.
Land Drawings, Installations, Excavations. Kate Whiteford.
Remote Sensing. Colin Renfrew.
ECOLOGY WITHOUT NATURE
Rethinking Environmental Aesthetics
Timothy Morton
Ordinary Lives
Studies in the Everyday
Ben Highmore
The Art of Survival?
Jacqueline Rose
Essay for 'Elsewhere' Therese Oulton
Hermeneutic Philosophy and The Sociology of Art
Janet Wolff
Hermeneutics
Jens Zimmermann
During emulsion lift the picture gets truly transparent and reveals new shapes and meanings while floating in the water. If only people were so easy.
Polaroid ID-UV emulsion lifted and placed on Polaroid 107 shot.
The 107 film expiration date was january 1973, but it still worked. 37 years expired, can't imagine how it could get to my hands. Sounds a bit magical.
Weird emulsion results. Color film cross processed in B&W. Svema LN 9 shot at ISO 20. Kiev 19 with Nikkor 50mm f1.4 Developed in Lowe’s Glycin-Carbonate concentrated developer – 7.5 grams Sodium Sulfite, 7.5 grams Glycin, 30 grams Sodium Carbonate in 1 liter of water. Working solution here is 1:10 (40ml in 400ml water). Stand developed for 2 hours, water stop/wash for 5 minutes, Ilford Hypam rapid fix 1:4 for 5 minutes continuous agitation.
When I casually look at the bottom 1/3 of the photo, it kinda looks like a helicopter or drone shot of a river running through an exotic canyon - hence the title.
Snow capped 11,054 ft. Telescope Peak is barely visible center top through the haze.
When driving back from my Lake Manly surf ski kayak paddle, the afternoon light on this terrain caught my eye, so I stopped to explore. I only took cell phone documentation / test photos with the intention of returning another day with the 8x10 - that came two days later. The general location are the miles of salt springs between Furnace Creek and Beatty Junction. The cell phone records the GPS location on the photo so I can actually find a thing again.
Some help from the inpainting brush and gradient tool in Affinity Photo 2. I routinely use the inpainting brush for removing dust, lint and fingerprints. The wet dirt at the bottom was too dark, so I used the gradient tool to lift it up. Then the background mountains were too washed out, so I darkened them a bit and increased the contrast a bit. The wet dirt is still dark and the mountains are still washed out, just not so much so now.
Intrepid 8x10 MkII
Schneider Kreuznach G-Claron 240mm ƒ9
Hoya Y[K2] yellow filter
General Electric PR-1 exposure meter c. early 1960's
Fomapan 400 @200
Clayton F76+ 1:19 for 15 minutes at 20°C
After development and fixing, I soaked it in ethyl alcohol for about an hour to remove the bazillion specs of extra hard anti-halation layer that this lot of Fomapan is plagued with. Then it went into the wetting agent.
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March 6th update:
I've done more edits and a proof print on 8.5" x 11". I can't quite get it to work in the real world. I had high hopes that this would make the cut for a 17" x 22" print - maybe not. I think the composition is just a little too busy. Probably need to walk away from it for a few days or weeks.
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March 7th update:
After 5 or 6 adjustments to get it to look how I want when printed, I finally have a 17" x 22" print. It's all little things, but when printing at that size, little things become big things.