Transfer to wood panel

I was in a unique fine art photography store today and was interested in the process the photographer

"artist" used. He would not tell me much to protect his process but he lended a few hints.

 

i know he shoots medium format and some how transfers (i think the emulsion) to a wood panel. The only

hints he gave was that he previously was very much into furnature making and mentioned the use of, I

think he said something to the effect of UV solvents. I think the real hint is that he uses chemicals from

funiture finishing.

 

The unique thing is that there is absolutly no gloss to be seen from any angle. He also mentioned

something that makes me think something must be on top of the finshed product emulsion. He told me a

story about how a bad mark had gotten on one of the pieces and he was able to remove it with steel wool

and mineral spirits. He said that process never touched the emulsion and you would never be able to tell

it ever happened. This was his testatiment about how durable the process makes the print.

 

That is all the information I have, can anyone out there fill in the blanks? I am really intrigued as I am sure

others may be if you have any ideas.

 

Thanks,

Drew

Ah... there's no magic in it, only Liquid Light - or similar. It's silver nitrate emulsion in liquid form that comes in a bottle, and you paint it on in total darkness or under a safe-light for some, allow to dry, then you can use it like regular paper. I'm a little sketchy on how you develop it. If it's on a flat piece of wood, then you can just put it in a deep tray, but you can paint it onto anything porous, wood, cloth (eg canvas).

 

I know Liquid Light is still readily available, but there were others. Could be some about somewhere. If you're in the UK, Fotospeed it as plain old Liquid Emulsion. However, if you're going to have a go, remember that this stuff it quite expensive. Fotospeed's is �33 for 250ml.

Phil, thank you very much for the reply. Sounds very intersting (and expensive). Any other

ideas out there? I really got the impression that he made the print and then got it onto the

wood. This is what would really interest me since I only shoot digital. He said the formula

was a home brew that he has worked on. He also mentioned that in the process of learning

the process, he had messed up quite a few expensive prints. That leads me to believe he

first made the print and the got it onto the wood.

... or there's emulsion transfer of course. I've heard about it, but never seen it done. I think the idea is that using chemicals, the emulsion layer is separated from the paper, and then applied to something else and then bled into it - like this guy was using wood, and that would explain how he was able to wire-wool the surface to get scratched out... it can be done.

 

To be honest, I haven't a clue how you'd do that with digital... best dust off that film camera...

i have all my digital prints made at a lab via a wet process (not inkjet) so I dont think it would

be an issue

It is possible he is transfering silver film emulsion, I think it is likely it is from film, not paper. Surplus aerial film on a roll comes to mind. I have a roll 8 inches wide. So print on that under an enlarger just like print paper but with the negative backwards, and after processing find a solvent, paint it on the wood and place the print face down and after a critical time peel off the base. Experiment until it works right.

 

For letter and icon labels on wood grain, I've used the Pulsar product, www.pulsar.gs The original color inkjet print is photocopied on a laser printer using the toner transfer stuff and then the image just slicks off with water onto just about anything. If I wanted to transfer a B&W photo with a gray scale I would print under an enlarger to Kodak Kodalith Autoscreen (I have some 20 yr old stuff - it still works) and then photocopy that onto the Pulsar stuff and tranfer that. But then the result would look like a newspaper print.

I found this person's website. This quote might help us to figure it out.

 

"panels are fully developed, silver Gel photographs processed to hardwood using the highest

quality, acid free, archival processes. Allowing for perfect viewing and protection of your art

without using matt board or glass."

What's the website address? I'm intrigued to see the work now...

Phil, check your email

It's probably only a color wax photocopy of the original and then He used Lacquer Thinner to transfert the image to the wood... I did it in the past often... Here I joined you a fast scanned of a fast made one! is it similar to what the guy had? Hope it will help you...

mad mad,

 

I think we might be getting somewhere. However how does that equate to silver gel if you

are talking about wax? Your image seems to let quite a bit of the wood color through.

Although there was wood texture there was no wood color coming through. The quality of

the actual photograph looked of the same quality as if it were on paper minus any

traditional coating on paper (matte, glossy, ect.)

 

Could you point to me a step by step of how to do the technique you have done? I looks

like something I would like to try.

 

Thank you so much for writing. There are so many amazing people on photo.net and I am

sure we can figure this out.

 

Thanks,

Drew

Pro labs do what your talking about... They print on glass, fabric and many other material... You'll not have this wood texture like I have whit my completly different process... We are talking about two totally different thing then. Ask A pro printing lab, they will tell you... My technic is a classic one. Easy and funny. Pull a Color Photocopy out of a picture you like and then apply it face down to the wood nor paper you want or any other material that will absorb the ink nor wax of your copy, depending on what kind of photocopy you have... Wax printing are good... Probably you can do this w/ your home ink jet printer... You can 'mirror' your image in photoshop before to still have the same thing than original. use the back of a spoon to press on the paper that is on the wood after having put the lacquer thinner w/ a brush. work zone by zone because it dries fast. by pressing on the paper this way you will transfert the image on the under-surface. Don't put to much lacquer thinner... Try and learn your own way! Have fun.

Thanks for the info. Sounds like some fun experimentation. I do know about pro labs

pressing it to masonite, canvas, ect which is also very unique. I guess the do it yourselfness

of the whole thing is part of what intrigues me. Thanks so much!

 

Any other ideas out there?

Check out this link:

 

http://www.surlinx.com/photography.html

 

Sounds like a similar process is being used. Does this spur any ideas?