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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
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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.
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 :-)
Emulsion Lift using Polaroid 669 film and a lumen print. On Arches watercolor paper.
Blogged:
whitecottontee.blogspot.com/2010/11/emulsion-lifts-proces...
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.
Today we managed to wedge ourselves into the hectic life of Bill McCarroll; finance professional by day, billionaire vigilante crime fighter by night photographer and writer by night (and weekends).
You may be familiar with Bill as the founder of the Google+ Leica Camera Community or as...
Read on at: emulsive.org/interviews/interview-8-i-am-bill-mccarroll-a...
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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.
Welcome to the first EMULSIVE interview of 2016, glad you stopped by!
We’ve got some cracking interviewees lined up this year and we’re hoping to start off with a bit of a bang, thanks to the one and only Bellamy Hunt, aka Japan Camera Hunter.
He’s a busy, busy man and i...
Read on at: emulsive.org/interviews/film-photographer-interviews/inte...
Filed under: #FilmPhotographerInterviews, #Interviews, #BellamyHunt, #EMULSIVEInterview, #FilmPhotographerInterviews, #Interview, #JapanCameraHunter, #Leica
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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.
I have admit I have found working with new Polaroid Originals film to create emulsion lift prints extremely frustrating! Just when you think you've got your technique honed so you can make print with reasonable consistency you open the next pack of film and it behaves completely differently!
I found the main difference between my most recent bacth of Polaroid Originals i-Type Color film is that emulsion layer is once again sticking to the transparent mylar front layer (just like it used to with old original Polaroid film and Impossible film). But often bits of the layer of white rubbery developer tend to stick to the black plastic bottom layer. This causes a big problem because when this happens there is still a residue on the emulsion layer that will simply never come off.
I found that the best way to prevent this from happening is to only use really fresh prints. I.e. you need to separate the print layers within about 15 minutes of making the print.
I also found it helpful to go back to my old technique of trimming of about 1-2mm from all 4 sides of the Polaroid print. I then remove all of the white frame from the back of the print and trim the four plastic tabs from each corner that hold the layers together. So long as your are using a really fresh print all the white/grey layer of developer should stick to the emulsion layer.
Finally I found it worked well to use hotter water than I have used previously (90 degrees). When I did all this the layer of white/grey developer comes of quickly and cleanly.
The only problem now is that the hotter water does weaken the emulsion layer somewhat after it has separated from the transparent mylar.
I only got 5 triptych prints plus t single prints from my last batch of 6 packs of i-Type Color… ouch!!!!! (Much lower than my success rate from my 1st pack of Polaroid Originals i_type Color!) But I was very happy with this one :-)
Let's see if all this holds when I order my next batch of i-Type Color! Hopefully I will get a better success rate next time!!
You’ll forgive the week’s break after interview 100, I hope. Well, break over and back to normal here are EMULSIVE HQ – no rest for the wicked.
It’s proving quite tough to introduce today’s interviewee. He has nearly three decades of experience as a professional ...
More at: emulsive.org/interviews/i-am-john-nanian-and-this-is-why-...
Filed under: #Interviews
'Gaslight' emulsion is probably the simplest of all silver gelatin emulsions to make. It's a chloride-based emulsion giving a neutral tone with deep rich blacks. It is very slow and quite contrasty and is well suited to contact printing.
When it comes to making it you don't need a whole lot of equipment, although it does make life a lot easier if you have access to a magnetic stirring hotplate. If you don't you can make it by heating the emulsion in a waterbath and stirring it with a small plastic whisk instead. Apart from that you need some measuring beakers, scales, plastic spoons, an eyedropper, a thermometer, and a timer. Finally, you'll need a lighttight container to store the emulsion in once it's been made, a red safelight, and a room that can be blacked out in which to make it.
Ingredients wise you'll need distilled water, potassium chloride, photo grade gelatin, silver nitrate, standard strength plain vodka and some wetting agent (Kodak Photo-flo or similar).
To Make
You can make a batch of this emulsion in a couple of hours, but most of that is waiting time so you can get on and do other things. Go into your blacked out room, put the lights on, and:
1) Add 135ml of distilled water to a beaker. Dissolve in 3g of potassium chloride. Add 25g of gelatin and give it a gentle stir.
2) Let the salted gelatin solution stand for 30 minutes to allow the gelatin to absorb as much water as possible ('bloom'). Meanwhile:
3) Add 25ml of distilled water to another beaker. Dissolve in 5g of silver nitrate. Silver nitrate stains everything it touches so be careful. Do not let it get anywhere near your eyes. Read the MSDS for it.
4) When the 30 minutes are up put the salted gelatin on the hotplate. Set the hotplate to warm the solution to 50°C and leave for 30 minutes to warm up, melt, and stabilise.
5) Add a stirring bar to the salted gelatin and start a vigorous but non-splashy stir. On my hotplate I use a fairly short bar and set the speed to 800 rpm.
6) Set a timer for 10 minutes. Turn on the safelight and turn off the main lights.
7) Slowly trickle the silver nitrate solution into the salted gelatin, midway between the edge of the stirring vortex and the edge of the beaker. The mixture will turn white as silver chloride is formed. Continue stirring until the 10 minutes are up.
8) Stop the stirring but leave the beaker on the heat. Turn off the safelight and let it sit for 30 minutes in complete darkness.
9) When the 30 minutes are up switch the safelight on. Gently still in 35ml of plain vodka along with 10 drops of wetting agent.
10) Either wrap the beaker in a lightproof bag or pour it carefully into a lightproof container. Store in the fridge.
Coating
The emulsion seems pretty robust and can be melted and cooled numerous times with no real impact apart from a slight speed increase. Coating needs to be carried out in safelight conditions.
To melt the emulsion warm it to 40°c. I use a soft brush to coat, spreading the emulsion out quickly and then finishing by going over the surface slowly and gently with the brush to remove any air bubbles. Paper wise I've never had any problems with this emulsion, as long as the paper can stand up to being processed it should be fine. I find Saunders Waterford works best for me. Peg the paper up to dry in complete darkness then store it in a lighttight bag.
The coated paper keeps well. Contact print it under a bare bulb - I use a 150w tungsten bulb at a distance of a metre or so and get exposure times around 20 seconds. Processing is in normal black and white chemicals, just being careful with the paper surface which will be delicate when wet.
this is 5 fuji FP-100C emulsion lifts transferred onto Arches watercolor paper. to create a panoramic view of the Portland skyline. The shadows are too dark, but I didn't want to lose the color in the sky, and the Fuji instant film isn't very forgiving.
In all this came out to measure 18''x6'' which is too long for my scanner so I had to shot in with a digital camera so its kind of crappier on the edges then it is in the real world.
Created for Magnificent Manipulated Masterpieces:New Challenge 181 INSECTS
created for 129th MMM "Book & caterpillar" Challenge
male model by: :Emulsão Scott
cartepillar photo by: :Xulescu-g
Texture by: : SkeletalMess
We’ve managed to drag today’s interviewee away from his workshop for a few minutes on the promise that he’s returned as soon as possible. You see, he’s not simply a film photographer but a tinkerer and engineer extraordinare; of course, it’s the one and only Denys ...
Read on at: emulsive.org/interviews/film-photographer-interviews/inte...
Filed under: #FilmPhotographerInterviews, #Interviews, #DenysIvanicheck, #EMULSIVEInterview, #FilmPhotographerInterviews, #Hasselblad, #Interview, #Pentacon6, #Petzval, #Petzvar
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I was in London at the weekend (of the 19.05.2018) and while there I saw the "Shape of Light" exhibition about abstraction in photography at Tate Modern. I thought the exhibition was exquisite and I came home with plenty of ideas about how multi image Polaroid emulsion lift prints could be used to create abstract images.
This print was essentially made from 4 identical Polaroid prints made using my Impossible Instant Lab with the images flipped and/or rotated to form an abstract pattern.
I have seen emulsion printing in art but not really in photography, so I decided to experiment with it. I used a bright photo (a wire wool one) which had lots of reds and oranges in it. I used a photo like that because it had the best chance of working. It worked but it was very faint, so I scanned it onto my laptop and created this vibrant piece of work.
Instant Lab avec Polaroid Originals, I-TYPE B&W.
Emulsion lift sur papier calque Vélin, Canson. 55 lb.
Feuille d'or Louis XIII.
Toute première tentative sur du papier «Vellum». En fait, c'est raté. L'original n'est pas du tout à mon goût. Merci photoshop pour le résultat que vous voyez ici.
Lieu; Réserve naturelle du Marais Léon-Provancher à Neuville, Québec. Canada.
El aire es cálido, ameniza el ambiente. De repente, todo cambia de dirección.
La temperatura empieza descender, la luz del sol se mengua segundo a segundo, el aire cambia de ritmo. Tus ojos empiezan a acostumbrarse a este nuevo ambiente.
Y sin querer, miras hacia arriba.
Algo impacta en tu cara, a continuación otro algo roza tu mejilla. Es un ejercito, no hay donde esconderse. Han llegado. Inundan con su sordo ruido que por si solos es imperceptible pero en conjunto es atronador.
La lluvia a empezado, ha llegado. Me siento feliz.
Used the rainy weather to look thru some old negatives and found this picture of a parked car I Rome.
Leica M6 and probably 50 mm elmar. Tri-X.
Printed on liquid emulsion from Foma. Hopefully it will turn into a good Bromoil.
Scan from handmaid bromoil.
Leica M6 ttl Ilford Delta 100 in DDX.
Bromoil made on liquid emulsion from Foma.
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Shot on ILFORD XP2 Super at EI 320
Black and white negative film in 120 format shot as 6x6
Orange #21 filter
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Read on at: emulsive.org/photography/medium-format/half-mast-shot-on-...
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Filed under: #Mediumformat, #Photography, #120FormatFilm, #2018June, #6X6, #EI320, #EI400, #EMULSIVEDailyPhoto, #Hasselblad, #Hasselblad2000FCW, #HasselbladPlanarF80MmF28, #ILFORD, #ILFORDXP2Super, #ISO320, #ISO400
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Considered, methodological, quiet, contemplative.
Today’s film photographer isn’t someone you’ll likely see running after the next shot. He plods, ponders, thinks, frames and shoots before moving on to pastures new. Welcome to the world of Colin Wilson; 35mm and 120 shooter ...
Read on at: emulsive.org/interviews/film-photographer-interviews/inte...
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#shootfilmbenice #filmphotography # believeinfilm
IN ENGLISH BELOW THE LINE
Foto presa amb una Zeiss-Ikon Contax II fabricada el 1936; objectiu Carl Zeiss Sonnar f2/50mm; pel·licula Kodak Double-X (o Eastman 5222), revelada amb Bellini D96 sense diluir. És, per tant, la mateixa emulsió de cinema feta servir per a filmar La llista de Schindler en aquest punt exacte, el 1993.
Aquestes restes rovellades de maquinària són fàcilment reconeixibles com a fons del camp de Plaszow a la Llista de Schindler, i són l'element més important que hi queda. Als seus peus hi ha escenes d'Oskar Schindler amb Izhak Stern, o Amon Göth es dedica a executar multitud de presoners (i acaba penjat ell mateix al final). De fet, sembla que és maquinària de la pedrera però de postguerra, durant el règim comunista polonès.
www.youtube.com/watch?v=7-0K6_mdolA&t=324s
www.youtube.com/watch?v=riESDBcVoo4&t=56s
A la pedrera de Livada, situada al nord del autentic camp de concentració de Plaszow, Steven Spielberg hi feu construir una copia parcial del camp com a escenaris per bona part de La llista de Schindler. Per respecte, no filmaren als terrenys del propi Plaszow, tot i que són un descampat sense quasi cap resta del camp. Amb tot, la pedrera es troba a només uns 500 metres al nord i també formà part del entorn de treballs forçats del camp.
Avui en dia, el lloc està completament abandonat, tot i que queden restes reconeixibles dels escenaris de la pel·licula. Però el que ha canviat increiblement és l'entorn natural, ara convertit en una barreja de bosc i aiguamoll, 30 anys després. La solitud (arribar-hi no es facil) i la significació li donen un encant especial, al lloc.
ca.wikipedia.org/wiki/La_llista_de_Schindler
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Photo taken with a Zeiss-Ikon Contax II manufactured in 1936; Carl Zeiss Sonnar f2/50mm lens; Kodak Double-X (or Eastman 5222) film, developed with undiluted Bellini D96. It's the same film stock used to film Schindler's List at this exact point in 1993.
These rusted remnants of machinery are easily recognizable as the background of the Plaszow camp in Schindler's List, and are the strongest remaining element there. At his feet are Oskar Schindler with Izhak Stern, or Amon Göth is dedicated to executing a multitude of prisoners (and ends up hanging himself). In fact, it seems that it is machinery from the quarry but post-war, during the Polish communist regime.
www.youtube.com/watch?v=7-0K6_mdolA&t=324s
In the Livada quarry, located north of the authentic Plaszow concentration camp, Steven Spielberg built a partial copy of the camp as the setting for much of Schindler's List. Out of respect, they did not film on the grounds of Plaszow itself, even though they are a wasteland with almost no remnants of the countryside. However, the quarry is only about 500 meters to the north and is also part of the camp's forced labor environment.
Today, the site is completely abandoned, although recognizable remnants of the film's sets remain. But what has changed incredibly is the natural environment, now turned into a mixture of forest and swamp, 30 years later. The solitude (it's not easy to get there) and the significance give the place a special charm.
www.youtube.com/watch?v=riESDBcVoo4&t=56s
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Ladies and gentlemen I’m incredibly proud to bring you the first EMULSIVE interview of 2018, and it’s one I’ve been waiting for myself for quite a while.
Indulge yourself and sink into the words and pictures of Christopher P. Michel.
Over to you, Christopher…
Hi Christopher, w...
More at:
emulsive.org/interviews/i-am-christopher-p-michel-and-thi...
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