Thanks again for the suggestions. Sure, I understand that there is no way to totally eliminate plastic in the workflow, so I am just trying to figure if there are ways to minimize it. Also, I tend to be more okay with cellulose acetate than polyester or polyethylene, ha. I found a very informative page dealing with alternative printing processes, if anyone else is interested in perusing it.
Any reason why though? Your film is on a polyester (PET) base and if you were to print on Ilfochrome. that would be on a white polyester (Mylar) base.
Originally Posted by bryanphoto
Why is a very thin polyethylene layer under the emulsion so objectionable to you?
The film I usually use is on an acetate base. As far as the polyethylene layer on paper, I just like the idea of printing without it, and am exploring if there are alternatives that might make it possible.
I'm working on a dye-transfer scheme that would be accesible to hobbyists. You could print on any paper-gelatin surface you desire. It promises to be significantly easier than color-carbon, which has always been the brain-surgery of color printing. Dye-transfer can be a bit more of an "outpatient" experience. ;)
It's still in the developing stages, but if you're interested... it's an option.
The dye-transfer process with the paper-gelatin ground sounds interesting. It would be nice to learn more about it.
Hey Bryan, here is the thread describing it -> http://www.apug.org/forums/forum42/8...-printing.html
The thread is kind of meandering and superfluous, so here's the the gist:
You need 3 color-separation negatives from your color picture, in the size of the final print as they will have to be contact printed. These could be made digitally or analog.
Then you need 3 "matrices". I've been using subbed-melinex from the PhotoFormulary for this and a very simple gelatin formula. Basically it is nothing more than a clear substrate with a thin layer of clear gelatin poured onto it, much like a carbon tissue but w/o pigment.
These are then sensitized in dichromate, and exposed with the negative through the base of the matrix. You etch these in hot water and the points that received the most exposure have a thick deposit of gelatin, whereas points of low exposure produced no hardening and they wash off completely.
Each matrix is then soaked in a dye-solution corresponding to the appropriate color, and rolled one after the other onto a receiving sheet of gelatin coated paper.
VOILA! That's it in a nutshell. The hardest thing to get a hold of will be the dyes, but it won't be impossible, and I'm exploring (slowly) the possibility of using readily available textile dyes.
Thanks for the overview. I will look into it.
For me to offer it as a "plug & play" solution is kinda misleading... ;)
But if you're in it for the long-haul it could be a lot of fun and worth it in the end!