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Liquid light process

The projected was called MAN, WOMAN



& MACHINE and my outcome was about



the German articles “Der, Die, Das”. It is



very interesting that this articles are



male, female and thing-articles. For



example the objects I used in my work:

The flower = die Blume=female



The apple = der der Apfel = male


The butterfly = der Schmetterling = male


The cigarette = die Zigarette = female

 

 

The ball = der Ball = male


The ladybird = der Marienkaefer = male


The shell = die muschel = female


The button =der Knopf = male

And I also took a special triangle shape



from Leonardo da Vinci and his artwork



“The last Supper”. Because the triangle



shape with the top up means “male” and



with the top down means “female”.



So I took these shapes to create a



sculpture out of it. In the female shapes

 

are female objects and in the male



shapes the male objects. Further on I



used a special photography technique,



which is called “Liquid Light” process.

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A technique where you can apply the process to a surface of your own choice

Liquid Light is probably one of the



coolest inventions in photographic



history. It basically allows you to print



photographs onto anything and



everything using standard darkroom



procedures. You can print on wood,



metal, glass, walls, even eggs!

Safe Light
Use a dark yellow, light amber or red safelight while coating but when emulsion is drying and for storage total darkness is recommended.
At room temperature, liquid light is a solid gel and before use the bottle must be soaked in a container of hot water until it becomes a liquid at about 110 Deg F. It is not necessary to melt the entire contents if only a portion is to be used as the mixture is of a similar consistency throughout and in fact shaking the bottle will cause bubbles to form which can effect the application of the emulsion. Use containers and tools made only from plastic, rubber, enamel, stainless steel or glass. (Other metals such as plain steel or brass may contaminate the emulsion. Temperature and humidity in the darkroom should be moderate.

Increasing density and sensitivity
A small, precisely-measured amount of paper developer added to liquid light just before use will give maximum speed and contrast. Add exactly one part of working developer to 10 parts of liquid light. Example: Add 15ml of dektol, Neutol or equivalent diluted 1-2 (Not stock or concentrated solution) to 150ml of liquid light. Mix well, an coat this mixture during the same day. (Once coated and dried, material can be stored of an indefinite period).



The experiment below shows the B/W results on yellow paper wile you can still see the thick "brush-lines".

How it works:

Applying liquid emulsion
Use a brush, small sponge or a nap type paint applicator, by using a paint roller, spray gun, or by flowing on the emulsion and draining off the excess. At the same time, coat a few pieces of paper or file cards with the same mixture to serve as test strips to calculate the correct exposure. Like paint, too thin a coating of liquid light will show streaks and brush stokes. If an even coating is required, two thin coats will cover better than one and the second can be applied after the first has become tacky or dried. As you are applying the solution, remember to keep the emulsion warm in a water bath as it will begin to set again if it becomes cool.





Exposure

Liquid light can be exposed once it is dry by using an enlarger, contact printing, or by a slide projector. Liquid light is slower than normal enlargement papers and requires a longer exposure time.

Suggested exposure for an 8×10 from a 35mm neg enlarged full frame is about 40sec @ f5.6. If using an enlarger for large works, you will need to reduce the amount of light projected on to the surface,and this can be done by tapping a piece of black stiff card over the front lens with a hole 1/8 inch diameter cut in the middle to act as a diaphragm that limits light out put and sharpens the image.





Processing liquid emulsion – development

For preparations on paper, develop like a normal print in a tray, or for other surfaces paint the developer on with a brush or sponge. A developer like Dektol or Neutol should be used diluted 1 part with 2 parts water. It is important that while the temperature of the developer is warm it is not above 70 deg F or 21 deg C. to avoid melting of the emulsion.

For large surfaces where the developer must be applied to a portion of the print at a time, even out the development by first wetting the emulsion with cool water.



Fixing

Do not rinse with water or use a stop bath after developing. Use two consecutive identical hardening fixer baths. The first acts as a short stop; immerse for a few seconds to neutralize the developer. Next place in the second bath for 10 min or more until the chalky white pigment disappears, leaving the highlights completely transparent. (The second fixer should always be new and some agitation should be used).

Washing

Wash in the normal manner for at least 10 min in running water.

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