Re: making regular photo paper POP

> Chris,
> These are beautiful images (thank to Kerik for the link). Do you have any
> details on fixing process and what type (brand of papers were used). Any
> other practical details that might be useful? Is there any toning of the
> images? I have been doing some experimentation in using commercial B&W
> papers for alt photo processes and would be interesed in learning as much
> as possible.
> Marek M, Houston
>
Yes, Marek, I'm "in the know" with a few more details. I made sure to scour
the book for info before returning it to the student, and this is what he
shared (Burchfield), but funny enough, not any different than is what is in
my Exp Workbook and stuff on this alt list! Do a search on POP somewhere
between 2000 and 2001. That's why I find it so funny--but there is no
denying that he has taken this process to a beautiful point, moreso than I
or any of my students have. That is why it is so exciting to me to see this
book because NOW the students will understand the beauty of this
experimental process!

I'll share my trade secrets and Burchfield's--you know I can't ever keep my
mouth shut.

First, he exposes for anywhere from 15 minutes to several hours, but he
seems to mention the several hour bit the most. In the hot equatorial sun,
mind you! Direct. On the top of his boat. Under glass or not under glass,
taped down or not taped down. In rain or not.

He uses outdated BW papers, 25 different kinds. I personally have tried
about 8 and, like him, found some suitable and some not. I found the
warmtones to produce lovely terra cottas and yellows and pinks and the
cooltones to produce mauves and lavenders and yellows and pinks. Just don't
throw out your paper anymore. I gave the student some outdated Luminos
Linen that I have had for 5 years and I'll let you know how it looks--I may
be kicking myself.

He put them in a light tight box when finished, and fixed when he got home
because he didn't have the chems with him in the Amazon. Hence, as I have
always done, you do have to fix. The print will dramatically lighten and
change color when it gets fixed, though, so what you see is not what you may
end up with. To minimize this use an alkaline fix, a 10% sodium thiosulfate
with 1% sodium carbonate (arm and hammer washing soda, if you are cheap).

Now, where he and I differ in process is this: I have never just left an
exposed print for a period of time before fixing. That could have some sort
of effect (continuing action, perhaps??)

One other thing he does differently than I have ever, aside from a delayed
fix, is that he takes the paper out of the bag in full sunlight. I used to
have students take it out in the darkroom, put it in the contact frame, and
then proceed outside. Therefore, all parts of the paper have at least some
exposure.

This student will be working on this all semester and I will report back
more results. What I am going to suggest she do is use some Kodak S2 and
S30, if it is still available (I have a quart of both) and sprinkle it on
here and there. That is what I use when I teach chromoskedasic sabattier in
the darkroom, and it produces beautiful color as Ryuji was explaining, by
the Mie thingy. I'm so scientific...Don't ask me how, I'm just going to
wing it.

The end.
Chris
Received on Thu Sep 1 19:07:12 2005