William Brouillard on sat 1 feb 97
Does anyone have an address or phone on a photo product called
KPR photographic emulsion process.
One of my students wanted to know about it and I have not been able
to find a reference or a source.
--
william brouillard
1011 literary road
cleveland,oh.44113
ch151@cleveland.freenet.edu
KEMPB on mon 3 feb 97
William,
I have been trying to source both KPR and KOR for over two
years now. I have a small amount in my darkroom back home in Australia I
have contacted Kodak Australia, Singapore, Malaysia and head office in
Rochester and apparently it is no longer made. I have tried to find a similar
material but to no avail. I believe it was originally used for photographically
etching computer circuit boards.
If you track it down. PLEASE let me know. I have students who want to
use it for putting photographic images onto ceramics.
Regards
Brian Kemp. Singapore.
kempb@nievax.nie.ac.sg
Bill Ratliff on tue 4 feb 97
>----------------------------Original message----------------------------
>William,
> I have been trying to source both KPR and KOR for over two
>years now. I have a small amount in my darkroom back home in Australia I
>have contacted Kodak Australia, Singapore, Malaysia and head office in
>Rochester and apparently it is no longer made. I have tried to find a similar
>material but to no avail. I believe it was originally used for
>photographically
>etching computer circuit boards.
>If you track it down. PLEASE let me know. I have students who want to
>use it for putting photographic images onto ceramics.
>Regards
>Brian Kemp. Singapore.
>
>kempb@nievax.nie.ac.sg
Dear William,
I am quite familiar with photo emulsion transfers. I use the Polaroid
emulsion transfer method to integrate my images (black and white/ color)
onto glazed ceramic sculptures. If you are interested e-mail me at:
wratliff@mitec.net.........otherwise, call Polaroid at 1-800-Polaroid and
ask for literature to be sent to you.
Good luck,
Nancy Gould Ratliff
Bill Ratliff
wratliff@mitec.net
Jim Horvitz on tue 4 feb 97
Tell us more about putting photo images on ceramics. Can the images you
create have a clear glaze applied over them? I know nothing of the
photoceramic process but it sounds interesting. Thanks for the help Jim
Horvitz Rancho Mirage California
George Mackie on wed 5 feb 97
>Tell us more about putting photo images on ceramics. Can the images you
>create have a clear glaze applied over them? I know nothing of the
>photoceramic process but it sounds interesting. Thanks for the help Jim
>Horvitz Rancho Mirage California
>
Jim, and others interested in photoceramics. This is a pretty tall order
because there is a whole family of technologies out there. Mostly they dont
use silver emulsions as used in conventional photography because silver
fires out in oxidation to pale yellow, unless *toned* ( substituted with)
platinum, palladium, gold etc. Instead, most approaches seem to use
non-silver emulsions such as dichromated colloids and diazo photopolymers
used by silk-screeners.
If you can get it, have a look at Kent Wade, 1978, Alternative photographic
processes ISBN 0-87100-136-5
Luis Nadeau is writing a book on photoceramics. See his web
page:http://www.micronet.fr/~deriencg/nadeau.html
Another photoceramics guru is Bob Wicks (BobWicks@aol.com) who coordinates a
group of us interested in this stuff, spawned by the alt-photo-process
newsgroup, but Bob also subscribes to clayart so he will probably see your
message anyway, and is the best person to tell you about it all, as he too
is preparing a monograph on the subject.
For what its worth, here is a very simple procedure Ive developed, as a
beginner. It only works for sharp black and white images. I am using
pictures of neolithic cave
paintings downloaded off the internet and printed on an ink-jet printer as
transparencies. Coat the surface of the pot with a photosensitive emulsion.
I use ULANO RLX available from silk-screen suppliers. Let it dry. Put the
transparency on top of the coated surface. Expose to ultraviolet light ( the
sun is a good source, but we dont see it very often up here in rainy
Victoria). Sunlamps, mercury vapor lamps etc can be used, anything that
gives off enough UV. The parts of the emulsion exposed to UV harden and
become insoluble, while the unexposed parts will wash off in water, leaving
an image on the pot. You can incorporate colouring oxides ( cobalt,
copper,nickel,manganese, iron etc) along with frits in the emulsion, so the
image will then simply have to be coated with a transparent glaze and fired.
I fire to cone 04 but there is no upper limit as your oxides are going to
sit there whatever happens. I am now trying a new approach which I havent
seen described anywhere. To avoid background staining, I immerse the pot,
after exposure, in a soluble metal salt e.g. nickel chloride, cobalt
acetate. The parts which have been exposed are relatively impermeable, but
the *stain* can go through the unexposed parts into the bisqueware. This
method seems to allow an approach to continuous tone imaging. The emulsion
doesnt actually wash off at all, so you have to fire the pot to get it off.
The stained image stays behind and can be glazed over. This means an extra
firing to red heat but I find I can get a cleaner and more tonally-graded
image.
As I said above, there are many approaches to putting photo-images on pots
and some are very sophisticated, but its a fun process, and in a way its
easier for a potter to become a photoceramicist than for a photographer to
become one, simply because we already have the basic pot-making equipment
and expertise. Hope this helps
George
Stern HQ on thu 6 feb 97
George, when you put the photosensitive emulsion on, do you have to put it
on in the dark, or in a red light, then place the image on it, also in the
dark, then expose the whole thing to uv light or can you do the entire
think in ordinary light? Your method sounds interesting; I hope to try
it. Thanks Jeni
On Wed, 5 Feb 1997, George Mackie wrote:
> ----------------------------Original message----------------------------
>
> >Tell us more about putting photo images on ceramics. Can the images you
> >create have a clear glaze applied over them? I know nothing of the
> >photoceramic process but it sounds interesting. Thanks for the help Jim
> >Horvitz Rancho Mirage California
> >
> Jim, and others interested in photoceramics. This is a pretty tall order
> because there is a whole family of technologies out there. Mostly they dont
> use silver emulsions as used in conventional photography because silver
> fires out in oxidation to pale yellow, unless *toned* ( substituted with)
> platinum, palladium, gold etc. Instead, most approaches seem to use
> non-silver emulsions such as dichromated colloids and diazo photopolymers
> used by silk-screeners.
>
> If you can get it, have a look at Kent Wade, 1978, Alternative photographic
> processes ISBN 0-87100-136-5
>
> Luis Nadeau is writing a book on photoceramics. See his web
> page:http://www.micronet.fr/~deriencg/nadeau.html
>
> Another photoceramics guru is Bob Wicks (BobWicks@aol.com) who coordinates a
> group of us interested in this stuff, spawned by the alt-photo-process
> newsgroup, but Bob also subscribes to clayart so he will probably see your
> message anyway, and is the best person to tell you about it all, as he too
> is preparing a monograph on the subject.
>
> For what its worth, here is a very simple procedure Ive developed, as a
> beginner. It only works for sharp black and white images. I am using
> pictures of neolithic cave
> paintings downloaded off the internet and printed on an ink-jet printer as
> transparencies. Coat the surface of the pot with a photosensitive emulsion.
> I use ULANO RLX available from silk-screen suppliers. Let it dry. Put the
> transparency on top of the coated surface. Expose to ultraviolet light ( the
> sun is a good source, but we dont see it very often up here in rainy
> Victoria). Sunlamps, mercury vapor lamps etc can be used, anything that
> gives off enough UV. The parts of the emulsion exposed to UV harden and
> become insoluble, while the unexposed parts will wash off in water, leaving
> an image on the pot. You can incorporate colouring oxides ( cobalt,
> copper,nickel,manganese, iron etc) along with frits in the emulsion, so the
> image will then simply have to be coated with a transparent glaze and fired.
> I fire to cone 04 but there is no upper limit as your oxides are going to
> sit there whatever happens. I am now trying a new approach which I havent
> seen described anywhere. To avoid background staining, I immerse the pot,
> after exposure, in a soluble metal salt e.g. nickel chloride, cobalt
> acetate. The parts which have been exposed are relatively impermeable, but
> the *stain* can go through the unexposed parts into the bisqueware. This
> method seems to allow an approach to continuous tone imaging. The emulsion
> doesnt actually wash off at all, so you have to fire the pot to get it off.
> The stained image stays behind and can be glazed over. This means an extra
> firing to red heat but I find I can get a cleaner and more tonally-graded
> image.
>
> As I said above, there are many approaches to putting photo-images on pots
> and some are very sophisticated, but its a fun process, and in a way its
> easier for a potter to become a photoceramicist than for a photographer to
> become one, simply because we already have the basic pot-making equipment
> and expertise. Hope this helps
>
> George
>
George Mackie on fri 7 feb 97
At 07:55 AM 2/5/97 -0700, you wrote:
>George, when you put the photosensitive emulsion on, do you have to put it
>on in the dark, or in a red light, then place the image on it, also in the
>dark, then expose the whole thing to uv light or can you do the entire
>think in ordinary light? Your method sounds interesting; I hope to try
>it. Thanks Jeni
Jeni - these emulsions arent nearly as sensitive as silver halide emulsions.
I do it all in subdued daylight. You dont need a darkroom at all. One thing
I didnt mention is that if you are using Ulano-RLX or another diazo
photopolymer it works best to dilute it 50/50 with water so it will go on
nice and thin. If you are going to incorporate coloring oxides, frits etc,
its best to proceed in several steps: 1. coat the pot thinly with 50/50 RLX
without any additions. 2. let it dry. 3 Expose the whole surface to UV .
This will make an insoluble substrate upon which you then 4. apply a second
layer of 50/50 RLX containing coloring ingredients. 5. let it dry. 6. place
negative over the pot and expose for appropriate time to produce *latent*
image 7. Wash in water to dissolve away background and thus *develop* image.
The image should now be visible, adhering well to the substrate surface. 8.
Dry, and bake in oven to burn off the emulsion, leaving coloring ingredients
behind. You might think the image would come off, as you have burned off the
substrate it was sitting on, but for some reason it usually stays on. 9.
Glaze with transparent glaze.
The method I described in my earlier letter using soluble stains that soak
into the absorbent bisqueware through unexposed parts of the emulsion only
works on once-coated surfaces. If you are trying this for the first time I
would say start as described in the previous para.
I dont know why I'm answering peoples questions on this topic. There are
others out there who know far more about it and are probably cringing in
disbelief at the naivete of my approach! George
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