Re: making regular photo paper POP

Chris
Thanks for the post and all the info. I am already experimenting. It is 95
degrees and 90% humudity in Houston, not far from the Amazon jungle. I
made a round of 1/2 hour to hour exposures this morning.
Keep me posted on the progress of your student.
Marek
>
>
>> 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 He uses outdated BW papers, 25 different kinds.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 I gave the student some outdated Luminos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 Fri Sep 2 13:02:55 2005