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Lloyd Godman
Film - Digital
Polaroid
The basic emulsion lift technique is extremely simple: just soak a Polacolor
ER print in hot water until the emulsion comes away from its backing,
then transfer the loose emulsion to a new surface. At this point the emulsion
can be manipulated in a number of ways to create fascinating distortions
of the original image. The original can be shot directly onto Polacolor
RT instant colour print film, using a medium or large format camera with
a Polaroid back, or shot on conventional transparency film and printed
onto Polacolor at a later stage. Whichever method you use, the Polacolor
print should be left for at least 24 hours after exposure before the emulsion
lift process is started. It is well worth practising with old proofing
prints first. to become familiar with the technique.
STEP BY STEP
Arrange your work space into wet and dry areas. Cut the watercolour paper
into sheets of a suitable size. Put very hot water into the first developing
tray, warm water in the second.
Leave the print in the hot water for about five minutes and then gently
rub the emulsion away from its backing with your fingers. Wear rubber
gloves if the water is too hot. The emulsion comes away more easily the
hotter the water, but clearly there are limits to how hot one can stand.
Once the emulsion is free from the backing, scoop it out with your hand,
or if preferred, with the handle of a wooden spoon or similar tool. Immerse
in a second bath of clean warm water and gently agitate to wash off any
particles from the backing that may still adhere.
Arrange the emulsion so that it floats gently on the surface of the water
and gently move it into shape. Slide the new paper into position underneath
the floating emulsion, bring the paper and emulsion into contact, remove
from the bath and place on a flat working surface. Or, remove from the
second bath with the spoon handle and arrange on dry paper.
While the emulsion is still wet, move it into the shape you require,
then place the new print somewhere flat to dry naturally, or gum strip
edges to flat surface.
The original Polacolor print should be exposed as normal, with due care
taken over the development time and temperature to ensure that the colour
and contrast range are correct. Emulsion lifts work best when there is
a strong visual link between the text and the image, therefore it is well
worth shooting subjects specifically for use with this process. Those
subjects which have an inherent transparency or translucency seem to be
particularly enhanced by the physical characteristics of transferred emulsion.
The paper, or other surface, you use to lay the emulsion on will also
affect the finished image. The texture of the paper will be absorbed into
the image structure, adding a new visual dimension. The most popular medium
for emulsion lifts seems to be rough textured, white 300lb watercolour
paper, as this dries very flat naturally, although it is very worthwhile
experimenting with almost any surface- even metal.
LIFT TECHNIQUE TIPS
• Plain hot water works well, but some photographers add 'secret
ingredients', e.g. a few drops of ammonia based window-cleaning fluid,
or a drop or two of washing-up liquid.
• Emulsion lifting can be just a starting off point for the creation
of composite images. Once the transferred emulsion is thoroughly dry on
the new paper, you can lay further images on it. You can also use image
transfers as a base for an emulsion lift from another print.
• If you want to combine the emulsion with other images at later
stage, you can store it in water for several days until required.
• Remember that any colour in the paper creates an overall cast
in the image and will show through strongly in light or transparent areas
.• The clear emulsion from the ER print's border will form a natural
lilac-coloured frame for the transferred image. If preferred, the print's
white border can be cut off before immersion in the hot bath.
• If the emulsion breaks during removal from the backing, lift out
the fragments and reassemble on the new paper.
• Leave to dry thoroughly before doing any retouching that may be
required. The emulsion will darken slightly as it dries.
• Some types of paper may buckle after drying. This can be avoided
by sticking the edges of the damp paper to a flat surface with gum strip.
• Prolong the manipulation of emulsion on paper by wetting with
an atomiser spray.
EQUIPMENT CHECK LIST
Kettle for heating water
Two developing dishes
Watercolour paper or similar Wooden spoon or similar
Rubber gloves (optional)
Washing-up liquid, or ammonia based window cleaner (optional)
Gum strip
Lifts and transfers can be easily scanned to produce high quality separations
for commercial printing and have been used in advertising for a number
of years. Transferred and lifted images are fairly stable over time, but
like all colour dyes, when exposed to bright light for extended periods
they will fade. UV absorbing varnish, or using UV absorbing glass or perspex
when framing will help.
USING TYPE 665 & TYPE 55
Most of the Polaroid peel-apart film packs are used for proofing, and
the product is only needed for temporary purposes. An exception is Polaroid
665 and 55, the types which provide a re-usable negative as well as a
print. Processing defects which go unnoticed on other materials can ruin
a Polaroid negative, which is also usually being enlarged.
THE MECHANICS
Polaroid peel-apart packs are processed by breaking a pod of reagent
and spreading this between the negative and positive materials by pulling
it between a pair of steel rollers. Pulling a film pack through the rollers
too rapidly can result in marks from small air bubbles and uneven spreading
of the processing solution. Pulling it too slowly is also to be avoided,
as irregular movement through the rollers will show as 'hesitation' marks.
The condition of the rollers is paramount, if processing marks are to
be avoided. Processing goo frequently gets transferred to the rollers,
and needs to be regularly cleaned off methylated spirits being a good
solvent. Old 5x4" backs develop pits in the rollers from corrosion,
which may make them useless for good quality work with negatives. Out-dated
film will generally be usable well past the date on the packet, but the
processing solution eventually becomes more viscous, and will not spread
properly. Additionally, in order to ensure even spreading, type 55 boxes
should not be stored on their edge, but always flat.
EXPOSURE
Like any other monobath process, the development mechanism is delicately
balanced, and is designed to work at an optimum of about 20° C. When
pos-neg film is processed at temperatures below normal, the speed of the
negative is reduced more than the speed of the print, and a well exposed
print may yield a negative that is too thin. To get around this the exposure
will need to be increased, and the positive print will appear over-exposed.
An easier solution, when using type 55, may be to delay processing the
packet until one is back in normal temperature.
POST PROCESSING
To stabilise the negative after processing it should be put into a sodium
sulphite solution within a few minutes after processing which softens
and removes remaining developer and anti-halation dyes. Polaroid recommend
18% but this is not quite as critical as it sounds. 20% strength is easier
to measure, as you can dissolve a 500g. pack of sodium sulphite in 2.5
litres water (or 200g./litre). A plain bath of sodium thiosulphate to
follow is also a useful addition. Long washing is unnecessary, and water
warmer than 24°C. should be avoided, as the emulsion is soft and easily
damaged. The film base is thinner than standard camera films, and easily
torn or damaged, so should be given better than normal storage- a polyester
sleeve, rather than thinner glassine envelopes is ideal. The negative
can also usefully be given a permanising treatment in Selenium Toner (e.g.
Kodak Selenium Toner, diluted 1+20), which will also tend to intensify
it slightly.
NB All Polaroid films contain a caustic processing gel which can cause
burns on contact with skin. Great care must be taken when using these
materials. Please dispose of all waste thoughtfully. For further information
contact Polaroid UK on (01727) 59191 and ask for their Advanced Image
Tranferring Guide.
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