I started using POP last summer, and I've been really pleased with the results -
it seems to combine the best of both worlds, with the tonal range of alternative
processes, and some of the look of really good glossy sillver gelatin paper.
I've used two types of paper - the Chicago Albumen POP, and the Bergger POP (I'm
not sure if the latter is available in the States). The Chicago stuff worked
just as well as the Bergger - I believe the Chicago paper is actually made by
Kentmere in England.
The printing sequence I use is as follows:
- expose under a UV lamp for 5 - 10 minutes (depending on the negative and the
height of the bulb from the paper). I expose until it's slightly too dark, but
not very dark - the toning and the drydown will darken the paper to a very
considerable extent. Last Sunday the print that looked wishy-washy at the end
and which I wanted to throw away was actually the one that dried down the best
after printing... The others, which looked just about OK after toning were
actually too dark and had to go in the bin.
- next wash for 5 minutes. I wash the prints in subdued light, or to be more
exact in the bathtub with the bathroom light off but the door open. (I'm sure it
isn't necessary to be so careful and this stage could probably be done under
normal light.) Certainly when you're getting the paper out this needs to be done
under subdued light. There is a cloudy residue from the print in the water that
needs washing off - if you don't wash the print it will have stains on it.
- I then fix for 5-10 minutes in a 10/15 per cent hypo solution. ( I've found
that filling a container up to the 100 ml level with hypo crystals is pretty
much the same as weighing out the correct weight of hypo crystals). When you add
water to hypo, the water cools dramatically. You then end up with crystals that
need breaking down at the bottom of the container with a stirrer. To avoid this
I add some warm water to the crystals first, and stir in the crystals, and then
top up to 1000 ml with cold water.
Fixing first is not supposed to be the usual way of doing this process, but I've
had much better results this way.
- after fixing I wash for 10-15 minutes. (fixer contaminates the toner - the
toner will go milky and the toning will be uneven or not happen at all, so it's
important to wash the print thoroughly)
- I then tone for the colour and level of contrast that I want in Tetenal Gold
Toner for 5-10 minutes. I've tried making my own toner using Gold Chloride and
borax, and the results seemed pretty muddy, so I've gone back to using the
Tetenal stuff at full strength. This stage is the most satisfying part of the
whole process - the print really comes alive ( in the fixer it tends to be a
rather sickly yellowy orange colour) and lots of details start to emerge on the
print. The range of colours you can get is amazing. It's also possible to get a
very strong black and white print as well
- I then wash the print for an hour or so and hang it up to dry
hope this is some help
-Chris Fox
_________________________Reply Header_________________________
Author: Francis Schanberger <fschanberger@ucsd.edu>
Subject: pop
10-03-98 02:39 PM
After losing my darkroom in the process of moving to a cheaper flat, I
realize I would like to continue to print albeit in a simpler manner. I am
considering using silver gelatin printing out paper to make contact prints.
I already have a UV light box and the sun which I use for palladium.
Who supplies this (pop) paper in the states and does it use conventional
silver gelatin chemistry?
Thanks for any info.
Francis