Polaroid lift | allovermyplace. I’ve discovered polaroid lift last year and it is since then one of my favourite techniques In essence an emulsion lift is a Polaroid print that has been soaked in hot water until the top emulsion layer floats off the backing. Once the emulsion layer is off the backing, it can be transferred and manipulated to a new surface receptor. In my example the new surface receptor was watercolour paper. It is not a difficult process but requires patience as it is quite a time consuming one Tools: -tray, plastic or metal (I prefer a metal one as keeps water hot for longer) –craft knife or scalpel -craft soap -set of brushes of a different softness Materials: -polaroid image- I’ve been using PX680 (for Polaroid 600 camera).
–watercolour paper acid free, around 300g/m², preferably grainy 1. 2. 3. 4. 5. 6. 7. Enjoy your new image! Like this: Like Loading... Sneaky peak | allovermyplace. I’m back to a darkroom. It’s what I like about photography the most- doing it myself from a to z. Taking pictures, processing film, making prints. The moment when I can see an image appearing in developer is the most exciting.
This time I had my hands on producing the cyanotypes. Like this: Like Loading... Lith Print: Adventures in Lith Printing and Alternative Process Photography. Beat the blues: Making cyanotypes « Cyanotypes. Writer and photography / “kdstevens” on Lomography Cyanotypes are fun and easy and are the perfect way to begin your exploration of alternative and historical photographic processes. The chemicals involved are inexpensive and relatively safe and most of the preparation can be done under normal room lighting.
So what’s not to like? Let’s beat those blues! Many places sell readymade cyanotype kits or even pre-sensitized paper (remember SunPrint?). Look for them online or at photo shops that cater to analog photographers such as Freestyle Photographic Supplies in Los Angeles or Bostick and Sullivan in Santa Fe, New Mexico. You need four things to make a cyanotype: Sensitizing solution; either in a kit or mixed yourself.A medium; usually smooth, 100% rag paper but you can also use cloth, wood, or your neighbor’s dog.A suitable negative. Let’s take them step by step. Expose the negative and sensitized paper in direct sunlight.
That’s it—you’re done! Read more about cyanotypes Like this: Abelardo Morell - Photography. Light Bulb, 1991 Camera Obscura I made my first picture using camera obscura techniques in my darkened living room in 1991. In setting up a room to make this kind of photograph, I cover all windows with black plastic in order to achieve total darkness. Then, I cut a small hole in the material I use to cover the windows. This allows an inverted image of the view outside to flood onto the walls of the room. I would focus my large-format camera on the incoming image on the wall and expose the film. Over time, this project has taken me from my living room to all sorts of interiors around the world. A few years ago, in order to push the visual potential of this process, I began to use color film and positioned a lens over the hole in the window plastic in order to add to the overall sharpness and brightness of the incoming image.
[ CK ] pinhole photography resources | Chris Keeney Photography.