From: Nigel Miller (nm1@bolton.ac.uk)
Date: 07/23/03-05:37:30 AM Z
Hi
Thank you to everybody who has sent in suggestions, they are all very
helpful and we shall be trying these out over the next two or three days.
I shall let you know how it goes.
Yu Rei asked some questions:
>
> Some questions:
> Is the smaller paper and the larger paper the same, and if
> so are they from the same stock?
The papers are identical, the A4 sheets are actually cut from the larger A1
sheets.
>
> If it works fine for the smaller sheets, and they are
> truely identical with the larger sheets, and you are (he
> is) processing in the same trays etc., then the problem
> must be comming from a difference related to the size of
> the paper. Things that come to mind are a longer wet time
> due to the larger size requiring more time for both
> coating and drying... perhaps the coating on the larger
> size is not drying evenly by the time the susequent coat
> is being applied.
I agree, it does all seem to point towards the paper. We do pre soak and dry
the paper to (hopefully) allow for shrinkage. (suggested by Liam Lawless)
> Also, has the gelatin deterioated due to being held warm
> for long times? What happens if now, you go back to the
> smaller sizes? does it still work perfectly as before?
David's A4 are generally consistent but it is a good point about the length
of time the gelatine is warmed for. I will check.
>
> More likely, it is possible that the repeated applications
> of gelatin are in fact causing a weaker bond. (gelatin -
> gelatin bonding is weaker than gelatin - paper bonding)
> In my experience, I have rarely needed hardener for paper
> prints. I have never had any problem with friling
> with any commercial or home made emulsion.
>
> It is important, however, to make sure you are using a
> neutral paper.
>
> Exactly which paper are you using?
I don't know the answer to this question as David is not in college today
but I do know that he has tried numerous water colour papers and finally
chose an Italian hand made paper because this had the most pleasing finish.
>
>
> I am not sure, are these toners acidic ?
Ryuki Suzuki has said that both the toners and Lith developer are very
Alkaline and that this is undoing the hardening action. Ryuki has suggested
a different type of hardener (Para formaldehyde) which we shall try. I will
let you know the results.
>
>> We are aware that we are using more than the
>> recommended amount of Liquid
>> Light per print but...reducing
>> the amount of liquid light produces a poorer print
>> (blacks etc).
>
> D-max will only increase up to a point with reperted
> application, what if you:
>
> 1. give the paper a weak gel. solution subbing, or not at
> all if it has been presubbed (and if it is a good quality
> watercolor paper, it probably has) w/wo hardener.
>
> 2. eliminate the two 50% coats
>
> 3. Coat heavier than before, but with straight emulsion
>
> 4. If needed, recoat.
David is insistent on the amount of emulsion he wants to use. He spent a lot
of time experimenting with lesser and greater amounts coated at various
dilutions but.... Due to my suggestion to him that he would get a more even
coat with multiple coatings of diluted emulsion he settled on the 2 coats of
50% followed by a coat at 100%. It sounds like my suggestion was not good
from what people are saying so we will try two coats of undiluted to see if
this has greater adhesion.
We will let you all know
A little info about David Rato.
David is from Portugal and is a photo student at the Bolton Institute, UK.
He finished his three year BA hons degree at the end of May. During his
course he experimented very successfully with a number of Alt processes,
notably Lith printing and Pinhole Photography. For his last major project he
produced a set of 12 toned B/W images using liquid emulsion and A1
watercolour paper and although he experienced the problems I have detailed
his perseverance and patience enabled him to finish the project. This work
achieved a very high mark and the quality of the finished prints was such
that all of his pieces were sold on the opening night of the students final
exhibition. He has been given enough commissioned work to keep him busy here
(rather than returning home to Portugal) at the Institute for the whole
summer. His work is now on display at an Art Gallery in Liverpool.
He is working on his own web site and it is likely that some of his Alt
images will be added to the Bolton Institute's site. I will post links when
they are available.
Thanks again to everybody
Nigel Miller
>
> Let me know how it goes!
> Ray
>
>
>
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