Processes I learned this week: Image transfer (5.30.17), gum bi-chromate printing (6.1.17)
1. On Tuesday, Tim gave a demo on three different ways to transfer images, with variations. These image transfer methods are alternatives to contact printing using image negatives or positives. Two main reasons for these alternatives: one, they all produce different effects on the final transferred images, and thus can contributed to a more "artistic" output; and two, one might not always have access to lovely printers such as those found at wcc, and hence, making digital negatives on transparencies may not be feasible outside of class. These image transfer methods can all be performed with the original image printed or photocopied onto simple copy paper, or a more durable sort of paper, so long as it has a matte (not glossy) surface, and will not ruin the printer or photocopier. There is more flexibility in the surface that receives the image. In class, Tim used paper and wood, but we can get more adventurous on our own.
a. transfer method #1: gel medium. Gel medium is a clear paint-like substance, and serves as the transfer agent between an image and the desired surface. Golden brand gel medium was used in the demo. To transfer, coat either the origin or destination surface, then place both surfaces face to face and smooth using a brayer, then let them sit together for a while, and then carefully peel away the origination surface from the destination surface to reveal the transferred image. Times may vary, will update as I have actual experience with this process.
b. Transfer method #2: packing tape. Use high grade clear packing tape for this process (consensus is that Duck brand trumps all others, including Scot.) The main idea is to use the stickiness of the packing tape to lift the original image off the original surface, and then make contact prints using the packing tape image.
In the demo, Tim first affixed strips of three inch wide clear Duck brand packing tape over the original image on copy paper, with a bit of overlap between the strips so that they untie as one for the image transfer. Next, he soaked the taped paper in a tray of warm water (for less than five minutes, but we should do this step for longer, was it an hour?). Then, remove it from the water and gently but thoroughly peel away the paper to reveal the image transferred onto the packing tape. It will be distorted by the crinkles and creases of the packing tape. The final step is to make a contact print using the packing tape image as a negative or positive. Tim did this in the darkroom as a traditional black and white print, but I see no reason why we couldn't use some of the other printing processes (cyanotype, VDB, gum) to make the final print.
c. Transfer method #3: beeswax. A coat of beeswax increases the translucency of copy and other matte-finished papers, rendering them better suited for contact prints. This is useful if you don't have access to high quality printers to make digital negative or positive transparencies. Tim brought in a rectangular skillet picked up for $2 at a local reuse center and preheated it to 200 degrees (this temperature is a sweet spot, you need it hot enough to melt the beeswax, but not so hot that the paper is burned, unless of course this is the effect you are going for....) Then, he placed the paper image side up, and rubbed a cake of high grade beeswax over the image until reaching the desired state of translucency. After drying and cooling, the beeswaxed image is ready for making contact prints.
I did not try any of these image-transferring methods this week.
2. On Thursday, we were introduced to gum-bichromate printmaking. Tim first showed us how to coat paper. He used three types of paper: Lanaquerrelle, Rives BFK and Canson watercolor. Making the solution to coat the papers is complicated. The inputs are two solutions: potassium and gum bichromate, plus the pigment source, which in our case is high-grade watercolor paints. To mix, one needs a small mortar and pestle, and to apply, a high-grade paintbrush. [Note: Will finish writing up the instructions when I get home and have access to my notes. ]
After coating the papers and letting them dry, Tim offered them to folks who had medium format negatives. I took him up on this offer, and made a solar-powered contact print of four negatives from my first roll shot on the Hasselblad (3 minutes, high noon sun.)
The images that looked overexposed in my traditional black and white contact sheet turned out best in gums.
Other processes I worked with this week and notes, tips, tricks, and failures.
1. I made two more cyanotype prints (both 5 minutes of high noon sun exposure + 1 minute of rest + 5 minutes of high noon sun exposure). First was a contact sheet of images that I think might work well in cyan.
And the second was another attempt at the mopey portrait of Coco.
My cyanotype technique needs work! I have been canvassing my more successful classmates for tips, and will report on these in the final section of this blog entry.
2. I shot my first roll of 120 medium format film in the Hasselblad camera over the holiday weekend, developed it in lab on Tuesday and made a contact print at the end of my traditional black and white darkroom photography class on Wednesday. First image shot is in bottom left, last is upper right. By end of shot, much more comfortable with quirks of camera, such as the reversed image in the viewfinder. Also, ready to learn how to use a light meter!
3. One more VDB print of Coco over prior cyanotype image (4 minutes, high noon sun). I did not try for the blue eye this time.
Other information I learned from other students in class:
Cyanotype advice: coat without premoistening, use better quality negatives (denser?), don't let coated paper rest for days, try using fancier Lana paper, use sun rather than uv lamp, don't rinse to the point of washing out image....
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