How do you make print look like it was 'painted' on to the print? The developer seems as though it was 'sponged' on, leaving a 'sloppy border.' I've seen this technique and I'd like to try it myself. Thanks in advance Yaakov Asher Sinclair Jerusalem
How do you make print look like it was 'painted' on to the print? The developer seems as though it was 'sponged' on, leaving a 'sloppy border.' I've seen this technique and I'd like to try it myself. Thanks in advance Yaakov Asher Sinclair Jerusalem
Not sure if this is exactly what you are referring to. Roger Hicks and Frances Schultz have a book on black and white in which they mention using an 'oversize/full size' negative carrier which gives a ragged edged border. DJ
If you're referring to the edges of the image having a rough appearance as though torn, blurred or otherwise manipulated, it was probably done in a program like photoshop. There are actually libraries of different edges you purchase on CD ROM that will allow you to achieve this sort of effect. Of course the whole thing started with the idea of printing the entire negative, thus revealing the imperfections of the aperture plate in the particular camera used to make the negative. It just grew into what seems to be an endless series of effects (presumably to create a different look). To do any of this manually (chemically) you might try sponging on some developer, or maybe making a mask of some sort using clear mylar. I've got to believe it could be difficult to do this in a controlled manner, chemically. I'll be watching this thread though, because I just know someone's going to have some clever ideas.
Most of my printing is done in platinum. I hand coat sensitizing emulsion onto fine art 100% rag papers. The edges when developed show the brush marks. A very nice technique.
You can also get "sloppy borders" by filing your negative carrier. This requires that you alway print your images full frame. Obviously no cropping would be possible.
Yaakov, it sounds like you are describing some sort of hand coated paper, possib ly platinum/palladium emulsion. what you are seeing is the overage brush stokes.
Interesting question! I too admire the 'painted' look of the edges of the platinum/palladium process - that is, the hand-brushed overage. Thinking about how one might achieve the same effect with standard papers, how about painting the edges with some opaque but water-soluable paint; perhaps tempra paint. The paint could shield the edges of the paper from being exposed, but leave a ragged, brushed edge (in reverse). The water-soluable paint could then be washed away from the print, probably before the developer bath so as not to contaminate it. I don't have any idea if this would work, or the problems that would be encountered. Just a thought. I'd like to hear from someone who would be willing to try this technique, since I don't have the capability to print anymore. I would think this technique would work equally well for color or B&W (if it works at all!).
Of course, another technique for a soft, ragged edge can be obtained by stuffing cotton or some gauzy material around the edge of the printing frame. You could also lay some frayed burlap material under the frame extending into the print area to get a 'ragged' edge. I've acually done this one with B&W, and while it is a bit of a pain, it works well. These techniques are another form of vinetting (sp?).
Another method is to sandwich your negative with another one while printing. The second negative is a high-contrast photograph of a large sheet of white paper 'sloppily' painted black, but not up to the edges. Hence the negative will have a clear centre and black borders.
Another way to get 'sloppy borders' is to print the image as required, including any cropping, burning in or dodging. But instead of putting the print into a dev tray, you can carefully paint the dev on. This process is very much trial and error until you have mastered the technique. It is also a sure way to exhaust the fix if you are mean enough to not buy any stop bath.
probably the easiest way is to use rockland colloid's liquid light or AG plus on a sized watercolor paper like strathmore 500. They will never be as beautiful as a plat or pall print but you will get brush strokes and with a little testing can be pretty? well kinda... or you could ease yourself into alt processes with kits from Bostick and Sullivan.
www.bostick-sullivan.com
www.rockaloid.com
good luck Yaakov
Have you tried using Liquid Light? It's an expensive liquid emulsion that can be brushed onto any paper. you develope as you would regular printing paper. cheaper than plat / plad printing. good luck. Dave.
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