Sequence viewing > Index - Alternative Photo Emulsions - Resource - ©
Photographic Processes - (Hand
made photographic -emulsions and processes)
- LIQUID LIGHT
This is a silver-based sensitiser which
is like the traditional silver emulsion coated on to commercial photographic
paper. While it can be applied on a paper support base - it can also
be applied on a wide range of surfaces like glass, metal, wood ceramics
etc. Like commercial photographic paper it needs to be prepared, coated,
dried, exposed and processed in a darkroom safe light. Exposure
to light will fog the emulsion.
Once it is applied and dried it is exposed
by an enlarger, ( this means that rather than needing a contact negative
which is the same size as the desired image, an enlarger can be used
to enlarge the image) and then it is processing in conventional photographic
chemistry - developer, fixer etc. It is virtually the same emulsion
found on an ordinary photographic paper, but in a liquid form and can
allow the emulsion to be coated on a wide range of surfaces.
and Contrast: When freshly-made, liquid light is relatively
slow and lacks full contrast. As it ages, it becomes faster and
more contrasty. You can obtain maximum speed and contrast at any
stages by adding a small quantity of working developer to the
emulsion, as described below.
LIQUID LIGHT VC EMULSION - For
use with variable-contrast filters.
emulsion is for use with polycontrast filters, the contrast ranges
from 1 (low) to 3.5 (medium high). It has all the features of
regular Liquid Light-- easy application, coverage of 1½
square feet or more per ounce and is darkroom safe and fume-free.
Liquid Light VC is processed the same as Liquid Light and Ag-Plus
but requires a red safelight.
Ag-Plus photographic emulsion
is a premium emulsion with a high silver halide content for added
sensitivity if the emulsion is used in-camera as for tintypes,
or for wall-size prints exposed at a distance from the enlarger.
Appearance and processing of prints made with Ag-Plus are the
same as with Liquid Light.
these emulsions can leave black stains on working surfaces and needs
to cleaned up immediately.
Light is usually coated onto a paper base -
but it can be coated onto a number of different materials -
Hard materials, metal, plastics, wood, glass, ceramics, need an oil-based
pre-coat for good adhesion and to prevent discoloration. For a transparent
pre-coat, use glossy polyurethane varnish. For a colored pre-coat, use
alkyd primer paint. Both are available at paint and hardware stores.
(Oil-base coatings are those whose label says they can be thinned with
mineral spirits. Do not use water-base coatings or acrylics, lacquer,
shellac, damars, satin finish coatings, etc. which will soften in the
developer.) Artist's canvas that has been primed with water-base gesso
should be given a topcoat of oil-base varnish or paint.
Glass and glazed
ceramics only: A useful alternative for adhesion to glass is a gelatin
precoat or traditional photographic "subbing" solution, which
fuses the emulsion to the surface. This solution works with mineral-based
materials like glass and china, glazed tiles, ceramics and porcelain--
not with plastics, metals, or other hard materials (use polyurethane
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