View allAll Photos Tagged EMULSIVE
Emulsion manipulated Polaroid SX-70 instant film image of a red Cadillac automobile in Seattle, Washington.
Matcha poached prawns in their broth served with light prawns bisque cubes, egg yolk-citrus emulsion and matcha crisps. Find more about this dish and its recipe at recipetaster.blogspot.com/2010/07/matcha-madness-3-matcha...
polaroid week day 6
yellow duochrome (alas, the yellow drains away) emulsion lift of a handheld slr680 self portrait
This emulsion lift piece was created as a tie in piece to work alongside my Margate/Benidorm series of Polaroids which will be published by www.jane-jeremy.co.uk later this year.
Using 669 and ID-UV film, this piece combines more than 80 Polaroids to build the final composite (this doesn't include the wastage which is about 3x that number!).
This isn't made digitally, but by the Polaroid emulsion lift process, where the layers of the Polaroids are separated and floating into water before being transferred to their new substrate (in this case, watercolour paper).
The building featured in the middle is Arlington House in Margate, though in real life it obviously isn't floating in the sea! The people and surrounding area were all shot in and around Kent and Benidorm, but not all at the same time, nor with this planned out.
Creating one of these is a bit like building a jigsaw without the box, and where nothing quite slots together! It's just as frustrating, but satisfying when it finally comes together. The hardest part is knowing when to stop and when to finally leave it alone!
Anyway, enough chatter - I hope you like it!
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Delmarva Central's Seaford local shoves eight tanks of asphalt down the rugged industrial spur toward Emulsion Products Company. From what I was able to find out EPC is a roofing materials company, so presumably the asphalt will be used to make asphalt shingles and roofing asphalt.
a very rusted 1956 ford fairlane coupe at the abandoned gypsum mining town of midland in the mojave desert. mamiya 6MF 75mm f/3.5 + kodak portra 160. lab: the icon, los angeles, ca. scan: epson V750. exif tags: lenstagger.
Chloride silver gelatin emulsion on watercolour paper.
Distilled water, gelatin, potassium chloride, silver nitrate, wetting agent, vodka
IN ENGLISH BELOW THE LINE
Fotografia feta amb la Hasselblad 500C/M, fabricada el 1979; objectiu Carl Zeiss Sonnar f4/150mm; pel·licula infrarroja Kodak Aerochrome @320 ISO, caducada com a mínim el 2011; f8 a 1/500 amb filtre groc; revelada amb el kit C41 de Bellini.
El Cadí amb el poble d'Arseguel, una vista clàssica des de la carretera de La Seu d'Urgell.
Sense cap mena de dubte, la emulsió més cotitzada avui en dia, i això que parlem de pel·licula caducada com a mínim des del 2011 o abans, és la Kodak Aerochrome. Molt probablement ja haureu sentit parlar d'ella si feu fotografia analògica. Es tracta d'una emulsió infrarroja en color, teoricament per a revelar com a diapositiva, però que sovint és més conveninent revelar-la com a negatiu amb el procés C41, ja que és menys exigent a una correcta exposició (i ho és molt), especialment ara que està caducada. Tot i que té un ISO de 400 per a diapositiva, millor exposar per a ISO 320 com a negatiu.
www.fotochismes.com/2020/11/30/la-sorprendente-historia-d...
www.alternativephotography.com/making-the-most-of-kodak-a...
emulsive.org/reviews/film-reviews/kodak-film-reviews/koda...
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Picture taken with a Hasselblad 500C/M, Carl Zeiss Sonnar f4/150mm lens, made in 1979; Kodak Aerochrome infrarred film @320 ISO, expired at least from 2011; f8 at 1/500 s., with yellow filter; developed with the C41 kit by Bellini.
The Cadí range, one of the most spectacular parts of the Catalan Pyrenees, with the village of Arseguel below.
Without a doubt, the most desired and valued emulsion today (and we're talking about expired film since at least 2011 or earlier) is the Kodak Aerochrome. You've probably heard of it by now if you do analog photography. It is a color infrared emulsion, theoretically to be developed as a slide, but it is often more convenient to develop it as a negative with the C41 process, since it is less demanding on a correct exposure (and it is a lot) , especially now that it's expired. Although it rated at ISO 400 for slides, better to expose for ISO 320 as a negative.
www.alternativephotography.com/making-the-most-of-kodak-a...
emulsive.org/reviews/film-reviews/kodak-film-reviews/koda...
Emulsion lift of color impossible film on b&w impossible film.
I dream of making portraits that show more than one layer.
Color on top of invisible ultraviolet black light
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.
emulsion is different but acceptable for bromoil. Not good as old one ,but anyway...
Printed from medium format b&w negatives
While we were in Arizona, a friend and I spent some time photographing whole milk with food dye mixed in it. The photo club that I belong to, Poly Photo club in San Diego. put on a workshop recently that included a presentation by one of our members about how to create emulsion art using whole milk, food coloring and dish washing detergent. I loved seeing the results by our members, and decided to try it. Here's a link to a website that shows exactly how to do it:
tinylanscapes.wordpress.com/2015/10/14/fun-with-milk-food...
Lighting stuff: I used a bare YN560-III, in manual mode, to put some light to to the emulsion. The flash was triggered by a Yongnuo RF-603N. I've also posted a picture of the setup that I used, because sometimes people find that to be helpful. Check the first comment down below to see the setup.
More photographs of colorful emulsions (although created differently) are in my pretentiously titled Emulsion Art album.
I've created an album with psychedelic content that can be seen here if you like this sort of thing. www.flickr.com/photos/9422878@N08/sets
Silver gelatin printing out emulsion on watercolour paper.
Adding extra silver to a gaslight emulsion lets it print out under UV light. Distilled water, gelatin, potassium chloride, silver nitrate, citric acid, wetting agent.
Impossible Project Polaroid emulsion on glass and mixed media.
INSTAGRAM. @hollographic
the now demolished wagon wheel bowl, which stood alongside highway 101 for over 50 years.
mamiya 6MF 50mm f/4 + kodak portra 160NC. lab: the icon, los angeles, ca. scan: epson V750. exif tags: filmtagger.
This is a tribute to one of my many favourite childhood reads - Grzimek's Animal Life Encyclopedia (Grzimeks Tierleben).
I recycled some leftover shots and put them together in a triple Polaroid emulsion lift on watercolour paper, made from two layers of b&w and one layer of colour film.
I find emulsion transfers with new PO film to be so much harder than with the older IP film.
Any tips and tricks gratefully received.
mamiya 6MF 50mm f/4. film: kodak portra 160. lab: the icon, los angeles, ca. scan: epson V750. exif tags: lenstagger.
Dark room print on cardboard, using Foma liquid emulsion. The advantage of this emulsion is that it can be used on any surface, and a regular enlarger can be used. I tried the cardboard to finish the emulsion that was left after having coated several washi papers.
266. - The Supra-Scapular, Circumflex, and Musculo-Spiral Nerves.
Original photograph taken by Polaroid SX70 Alpha1 SE using Polaroid Originals B&W SX70 instant film.
Emulsion transfer onto heavyweight matt laser print of a scan from Gray's Anatomy 1st edition reprint.
Part of a series that details the decay of images in the Toul Sleng Genocide Museum in Phnom Penh, Cambodia. The museum exhibits hundreds of photographs of prisoners who were destroyed by the Khmer Rouge. Some of these images are made from damaged negatives; others photographs show more recent damage to the print emulsion. These effects heighten the already emotionally-charged images and provoke meditations on the association between death and photography.