From: Mare-Verde (Mare-Verde@infonie.fr)
Date: 05/26/01-09:19:40 AM Z
Interested to learn of the different colors one can get when playing with
various chemicals. I, myself, have played a little more conventionally with
toners on photographic images. In addition to the standard toners, one that
I learned about from the Philadelphia photographer Robert Asman which gives
some very interesting results--particularly with chlorobromide papers
(Ilford Warmtone, Agfa Portriga) is Edwal's Tray Cleaner. Check out some
samples on my web site: http://perso.infonie.fr/mare-verde under the section
for Michael McCarthy in the figure photo samples.
Print is processed as normal with a shorter than normal fix (in a fixer
without hardener). Most interesting results come when Tray Cleaner is
painted onto print rather than submerging the entire print. The Tray
Cleaner reacts with the silver remaining in the paper and begins to
transform it. Depending on the strength and age of the mixture (I've been
using 1 part tray cleaner to 8 parts water) you will begin to see areas
change from black to a bright orange. I try not to let the print become too
orange but rather to create a bit of a split tone effect leaving some areas
untouched. Once you think you've got what you like you rinse the print off
until the yellow residue has disappeared and then place the print back in a
developer to watch the colors change. The bright orange disappears and
becomes much less garish. You can get greens, reds, yellows and a shiny
silver.
I believe Robert said the best results come with the Chlorobromide papers
and a developer than contains metol (I don't have my notes handy but this
would include the ilford developer and Kodak Polymax-but not Dektol).
Another thing which I've found helpful is to add a little old fix to the
tray cleaner. And it works best for me when there's some loss silver in the
mixture. The process makes your white borders pretty messy but seems to be
as archival as any other processing.
Ciao!
Michael McCarthy
........................................................
Photography, Art & Culture Web Site at:
http://perso.infonie.fr/mare-verde
........................................................
----------
>From: Juan Riera <jriera_@hotmail.com>
>To: alt-photo-process-l@sask.usask.ca
>Subject: Re: re:chemigram
>Date: Sat, May 26, 2001, 11:12 AM
>
> This is ok:
> http://www.cchem.berkeley.edu/~wljeme/Chapt6.html
>
> Best wishes,
> Juan
> ----- Original Message -----
> From: Jean Burdett <mailto:jburdett@chariot.net.au>
> To: alt-photo-process-l <mailto:alt-photo-process-l@sask.usask.ca>
> Sent: Thursday, May 24, 2001 8:32 AM
> Subject: re:chemigram
>
> Judy, thanks for the reference for the Cordier article. I am intending to
> produce relatively conventional chemigrams making use of light,but also
> wish to try a variation, where a silver gelatin image is produced without
> light. I could then combine these elements within images.
>
> Christian, sorry i didn't respond to your question earlier. I hope this
> may be of some help. At http://www.cchem.berkley.edu/wljeme/chapt6htm.
> There are instructions for producing arange of colours on black and white
> chemicals on the unexposed sections of paper by placing chemicals including
> thioucyanate on the surface of the paper as it is exposed. While this
> method can be used as a toning effect, it can be used to paint an image,
> using different combinations using different to produce colours.I
> understand the colour is largely determined by ph. This is the method
> Dominic Lam uses. I have ordered a stabiliser containing thioucyanate to
> try this method. A range of earthy colours can be produced by applying
> different combinations of developer, stopbath, and fixer, seperately or
> combined, onto photographic paper and placing in the sun. I believe this is
> the method Phil windsor (unsure about the spelling) uses. I used to have
> an adress for a large collection of his images,but seemed to have lost the
> link. I would apreciate any help finding it again.
>
> I personally am experimenting with applying household
> chemicals(water,bleach,lemon juice,m.s.g., vinegar) and conventional
> photochemicals to fixed and unfixed paper. i also achieve arange of blues
> by exposing paper to light and then fix without use of developer.The idea
> would be to use a contact print, to produce an outline, and then fill in
> with colour. Finances allowing, I may try using copper etching methods to
> produce a large stamp which would be used for applying the outline using
> photochemicals as ink. also i have used wax to chemically protect regions
> of paper. i dont know if any of that helps.
>
> Birdie.
>
>
This archive was generated by hypermail 2b30 : 07/12/01-11:29:40 AM Z CST