![]() ![]() Take a black/white photo paper, put a piece of plant, flower or something else organic on top and finish off with a piece of glass. Writer and photographer / Sarah Lycksten Sarah Lycksten shows us how to have fun with photography – exploring and experimenting with new techniques! Marek Matusz is one of the artists represented in the galleries. Wash the print according to B&W archival standards and admire your artwork.įor some of the best examples look at work of Jerry Burchfield. ![]() Toning, especially gold toning helps preserve the delicate colors of the original. The print will bleach considerably at this point. I fix in a dilute solution of ammonium thiosulfate. Gold and platinum toners work best for me. Development – none!Īfter exposure I soak the print for a few minutes in water and then tone if needed. Typically warm tone papers will produce most interesting color combinations. My examples here are made on fiber base, Forte warm tone paper. Try different brands and types of photographic papers. As the exposure progresses the paper will darken. That is one of the important aspects of producing color shifts. In the heat of the summer the photographic paper will get moist in the area of contact with the plant. I place a piece of glass to slightly flatten the plant cutting. My exposures vary from about 30 minutes to 4 hours. Place a plant cutting on the paper and leave it in the sun for hours. Both exposure and development are done with the UV light and sun is the best source. In any event dig into your photo storage and take those forgotten 20 years old, fogged papers. This might have to do with age of papers, but also with the emulsion types available years ago, but no longer manufactured. Some have reported that old, outdated papers work best. Read the health and safety instructions.īlack and white photographic papers are used in this process. Photography / Marek Matusz Marek Matusz gives us a brief overview of an old camera-less process.Īlways be careful when handling chemicals. ![]()
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