From: Rod Fleming (rodfleming@sol.co.uk)
Date: 05/12/00-01:27:57 AM Z
Hi
Egad I suddenly realise the passage of time- I am actually old enough to
have used this method of glazing- in fact I still have some glazed prints
made at the time. Oh dear.
First, true "ferrotyping" is a special technique which used a "Ferrotyping
tin" which was prepared for use by coating with a waxy product. This gave a
terrific glaze but was a skilled procedure. The gloss was fantastic- like
polished chrome. You have to see it to believe it, I think. It's no surprise
they were popular with art directors. If anyone out there has some tins they
don't want, please let me know!
By the late 60's real ferrotyping had practically vanished and
"glazer/dryers" were in vogue. These were much easier to handle as they
only needed thorough cleaning to prepare them for use. There has been other
comment on the availability of these so I won't bore you but beware if
buying one used- the bed of the dryer must be absolutely mirror glossy with
no pits or discolouration.
Some of the units had an aluminium bed which can be polished to remove
discolouration and thus restore the finish but many had a steel bed plated
with chrome- one of these less than perfect is scrap- it's just not viable
to rechrome the surface. (But the chrome ones gave the better glaze- almost
up to ferrotype.....)
These can also be used to dry F/B prints without glazing BTW by placing the
print on the bed image side UP, and not closing the cloth. I have heard some
people dismiss this on archival grounds, but I can't see why- if the bed is
clean. It helps to reduce cockle with some papers.
Glass is the poor man's alternative but it's not nearly as good- the gloss
is not as high as you get with a proper glazer, more akin to the gloss on
"glossy" RC. Also it's very difficult, even using a "glazing solution" to
get even adhesion of the wet print to the glass, which gives an uneven
surface. You really need to use a roller squeegee to get a decent result.
But with patience it will give a surface.
I suppose anyone who grew up in photography, made all the changes when the
big companies asked, moved on to RC paper from FB, then moved from graded
paper to multigrade, and now on to digital can look back and see that in
making all of these changes for the sake of convenience and modernity we
gave up so much......... Looking at prints now which I made over a quarter
of a century ago on cheap Ilford "single-weight" glossy and then glazed on a
(huge) chrome-bed glazer/dryer I am still impressed by the richness of the
blacks, the excellent gradation and the sparkling surface. Long live
alt-process!
My my, how time flies
Rod
.----- Original Message -----
From: "Darlington Media Group" <postmaster@mediaworkshop.demon.co.uk>
To: <alt-photo-process-l@skyway.usask.ca>
Sent: Thursday, May 11, 2000 09:55
Subject: Ferrotyping Alt. Prints.
> HI All,
>
> I know that 'glazing' prints is considered a dastardly deed, but I thought
> I may try it as an experiment.
>
> I remember reading (Nadeau?) that one method of obtaining a gloss surface
> on an alternative print was to immerse the print in gelatin, perhaps a
> couple of times, harden the gelatin in formaldehyde or glyoxal then
> ferrotype the print face down on a sheet of glass.
>
> Anybody tried this method? Any advice and do's and dont's?
>
> Cheers ....... Tony McLean.
>
>
> Why not take a look at the latest issue of Camera & Darkroom magazine?
> http://www.camera-and-darkroom.co.uk
>
>
>
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