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Thread: Liquid Light

  1. #21
    Photo Engineer's Avatar
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    I can't comment on the needs of Bromoil printing. I intend to try it someday, but right now, I know too little to comment meaningfully.

    PE

  2. #22
    gandolfi's Avatar
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    Quote Originally Posted by Marco B View Post
    Yes, but can, as Emil suggest, a hardened emulsion no longer be used in bromoil? That is another process I would once like to try... good to know this beforehand.

    Well, probably, it is only less flexible, as commercial papers are hardened as well, but still usable in bromoil as I understood it from what I've read about bromoil so far.

    So, Emil, what is it that you find better about the unhardened LE in bromoil? Better swelling of the matrix with better contrast?
    Marco: First thanks for you comments about me.
    sometimes I feel like the famous bumblebee... I can't fly, but I am too ignorant to know it....

    I (and Stine not to forget) have tried several types of LE for bromoil printing.

    The FOMA stuff, I so love to use, is not hardened in any way.
    IF you add hardener OR use fix with harderner, forget all about bromoil!!
    It doesn't swell at all (or at least, it makes the process unnecessarily difficult - and the risk of the emulsion lifting from the paper is high...)

    Use unhardened LE.
    most developers can be used (I use mostly Tetenal products and they are fine (the Centrabrom is EXCELLENT, as it gives you all the greytones you need, very easily)

    Unhardened fix!! is important.
    I use (again) Tetenal "variofix" which is a powder, and it is fine for this use.

    Make a normal print (maybe slightly darker and flatter than you'd normally do - as you can controll the contrast a lot with the final inking..)

    more on my website..

    or ask any questions you want.
    If LE is additive, the bromoil process is even more!!

  3. #23
    Marco B's Avatar
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    Thanks Emil, this is all good to know. I will definitely keep this in mind if and when I decide to try out bromoil using liquid emulsion.

    Emil, one last question, I know you prefer copper printing paper. Do you have the make or brand name and the name of the type of paper you use possibly? I have used paper for acrylic paint successfully, but have mixed feelings about it. Of course, I can not compare it with anything else, as I haven't tried for example your suggested copper printing paper. The acrylic paper has good wet strength, but I wonder if part of the lift-off is due to it seemingly being very heavily sized (with starch / gelatine?), which probably is the reason of its good wet strength on the other hand.

    By the way: I once bought a piece of copper printing paper, but it seemed very heavily absorbent, probably because it wasn't sized. Do you size the paper with starch or gelatine, before applying the LE?

    Just found this page about paper sizing. Interesting read:
    http://www.arts-in-company.com/paper...es/sizing.html

    Marco
    Last edited by Marco B; 10-10-2009 at 01:41 PM. Click to view previous post history.
    My website

    "The nineteenth century began by believing that what was reasonable was true, and it wound up by believing that what it saw a photograph of, was true." - William M. Ivins Jr.

    "I don't know, maybe we should disinvent color, and we could just shoot Black & White." - David Burnett in 1978

    "Analog is chemistry + physics, digital is physics + math, which ones did you like most?"

  4. #24
    gandolfi's Avatar
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    Quote Originally Posted by Marco B View Post
    Emil, one last question, I know you prefer copper printing paper. Do you have the make or brand name and the name of the type of paper you use possibly? I have used paper for acrylic paint successfully, but have mixed feelings about it. Of course, I can not compare it with anything else, as I haven't tried for example your suggested copper printing paper. The acrylic paper has good wet strength, but I wonder if part of the lift-off is due to it seemingly being very heavily sized (with starch / gelatine?), which probably is the reason of its good wet strength on the other hand.

    By the way: I once bought a piece of copper printing paper, but it seemed very heavily absorbent, probably because it wasn't sized. Do you size the paper with starch or gelatine, before applying the LE?

    Just found this page about paper sizing. Interesting read:
    http://www.arts-in-company.com/paper...es/sizing.html

    Marco
    hi marco.

    I use the german brand "ZERKALL"

    this is what they say on their site:

    "Mould Made Printmaking Paper, wove

    340 g/sqm, ca. 50 x 68 cm lg, rough surface, cotton content
    Nr. 7314/1: off white

    Applications: silkscreen, hand lithography, offset, etching,
    embossing, block printing, letterpress printing, pastel, pencil"

    lots of papers possible, but I have really good experience with this.

    No sizing needed at all.

    http://www.zerkall.com/English/Paper...apiere.E1.html

  5. #25
    Marco B's Avatar
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    Thanks Emil, I will see if I can find that paper here in the Netherlands.
    My website

    "The nineteenth century began by believing that what was reasonable was true, and it wound up by believing that what it saw a photograph of, was true." - William M. Ivins Jr.

    "I don't know, maybe we should disinvent color, and we could just shoot Black & White." - David Burnett in 1978

    "Analog is chemistry + physics, digital is physics + math, which ones did you like most?"

  6. #26

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    I am not saying all liquid emulsions are bad but i had an awful experience with vc liquid light. The way i was trying to use it seemed simple enough. Pouring on varnished glass. Worked fine and loved the result on the non vc version but the vc version was horrible to work with. Maybe its just me??

  7. #27
    Marco B's Avatar
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    Quote Originally Posted by mikez View Post
    Worked fine and loved the result on the non vc version but the vc version was horrible to work with. Maybe its just me??
    What do you mean with "the vc version was horrible to work with"? Bad printing results... bad coating... problems during processing (lift off)?

    I have never used Liquid Light. I used Rollei / Maco Black Magic VC, and besides coating and some processing issues, the final print results were OK in terms of quality of print, see the linked image in one of my previous posts in this thread. And I liked the fact I was able to control contrast reasonably well using its VC properties and adjusted filtration, versus a fixed grade emulsion, although it is not as good as true VC paper (limited to about grade 1-4 according to documentation).
    My website

    "The nineteenth century began by believing that what was reasonable was true, and it wound up by believing that what it saw a photograph of, was true." - William M. Ivins Jr.

    "I don't know, maybe we should disinvent color, and we could just shoot Black & White." - David Burnett in 1978

    "Analog is chemistry + physics, digital is physics + math, which ones did you like most?"

  8. #28
    Christopher Singleto's Avatar
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    I've just recently decided to coat my own paper ofr bromoils using Liquid Light and developed a couple of prints today. I obviously need to practice my coating skills, the prints were a little streaky.

  9. #29
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    Quote Originally Posted by Photo Engineer View Post
    I could troll for converts too.

    I know more about this than most. But, coating on other than flat surfaces introduces DOF problems that cause blurry images. A flat surface is best.

    PE
    How about using a pinhole camera?

  10. #30
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    Quote Originally Posted by lxdude View Post
    How about using a pinhole camera?
    From a pinhole camera to coated 3/D object? Like a rock? Yes that would work. Although I would say that one of the great features of LE is to be able to put an image onto non conventional surfaces, and so DOF issues and ultimate sharpness are not usually of primary importance. Lots of great examples out there.

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