Polaroid film is unique in the history of photography, providing the first "instant feedback" we now take for granted with digital cameras. The company incorporated its technology into a variety of film formats and packages, ranging from consumer-use products to research and professional studio applications. Some of these films are constructed in a way so that the delicate emulsion containing the final image can be separated from its backing and transferred to a new surface.
Film Types
Films preferred for these techniques are Type 669, Type 690, Type 87 and Type 88. Fujifilm's FP-100C can also be used, and it is still being manufactured. There is some good news coming from The Impossible Project, which is now manufacturing Polaroid-style film. Integral film (no peel-apart step) requires the clear plastic surface to be removed. Keep in mind that there is always a chance the emulsion will be damaged irreparably in the process. Do not attempt to transfer a print you cannot replace.
Separating Emulsions
Hot water is used to soften and loosen the emulsion from its backing. It is important that the emulsion is fully dry before attempting to cleanly lift it from the backing. Twenty-four hours is a minimum for freshly shot and developed images. Type 669 film requires about four minutes in water that's about 150 degrees Fahrenheit. Other films, such as black and white Polaroid films and Fuji products, require longer times or higher temperatures. When the emulsion is loose, move the print to a warm water bath for the transfer.
Transfer Surfaces
The allure of emulsion lifting is the result of photographic images on traditionally non-photographic surfaces. Transferring to watercolor or print-making paper can give a painting-like effect. Any glass or glazed ceramic surface will work, as will materials like wood and stone. Keep in mind that the highlight areas of the photograph will be clear, and they will thus take on the color and texture of the transfer surface.
Manipulating the Emulsion
The fragile nature of the emulsion itself is part of the charm. After transfer, while the emulsion is still wet, scrunching the edges, artful tearing and distorting the image are all valid means of manipulation. Once the image is dry, regular photo retouching materials can be used, as can watercolors or pencils. As with any photographic emulsion, direct sunlight or other ultraviolet source should be avoided to prevent fading.
Polaroid film is unique in the history of photography, providing the first "instant feedback" we now take for granted with digital cameras. The company incorporated its technology into a variety of film formats and packages, ranging from consumer-use products to research and professional studio applications. Some of these films are constructed in a way so that the delicate emulsion containing the final image can be separated from its backing and transferred to a new surface.
Film Types
Films preferred for these techniques are Type 669, Type 690, Type 87 and Type 88. Fujifilm's FP-100C can also be used, and it is still being manufactured. There is some good news coming from The Impossible Project, which is now manufacturing Polaroid-style film. Integral film (no peel-apart step) requires the clear plastic surface to be removed. Keep in mind that there is always a chance the emulsion will be damaged irreparably in the process. Do not attempt to transfer a print you cannot replace.
Separating Emulsions
Hot water is used to soften and loosen the emulsion from its backing. It is important that the emulsion is fully dry before attempting to cleanly lift it from the backing. Twenty-four hours is a minimum for freshly shot and developed images. Type 669 film requires about four minutes in water that's about 150 degrees Fahrenheit. Other films, such as black and white Polaroid films and Fuji products, require longer times or higher temperatures. When the emulsion is loose, move the print to a warm water bath for the transfer.
Transfer Surfaces
The allure of emulsion lifting is the result of photographic images on traditionally non-photographic surfaces. Transferring to watercolor or print-making paper can give a painting-like effect. Any glass or glazed ceramic surface will work, as will materials like wood and stone. Keep in mind that the highlight areas of the photograph will be clear, and they will thus take on the color and texture of the transfer surface.
Manipulating the Emulsion
The fragile nature of the emulsion itself is part of the charm. After transfer, while the emulsion is still wet, scrunching the edges, artful tearing and distorting the image are all valid means of manipulation. Once the image is dry, regular photo retouching materials can be used, as can watercolors or pencils. As with any photographic emulsion, direct sunlight or other ultraviolet source should be avoided to prevent fading.
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i heart polaroid
iheartpolaroid.blogspot.com
And I always will... This is the place to view all my creative work with Polaroid. I hope it will inspire and delight you. I teach several Polaroid processes.
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www.daylab.comManufacturer of photo processing systems that don't require a darkroom.
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Polaroid Image and Emulsion Transfers: Learn How from the
www.betterphoto.com/courseOverview.asp?cspID=125You can learn how to create Polaroid image and emulsion transfers from the master of Polaroid transfers, Kathleen T. Carr, even when she is on the other side of ...
Polaroid Emulsion Transfer / Lift Demo - YouTube
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