11/7/2023 0 Comments Instax emulsion lift![]() This was a new test, and I used an under exposed Polaroid because I didn’t expect it to work. Polaroid emulsion lift on leaf Test oak leaf, VENJ Polaroid emulsion lift on leaf, by Jo Howell Go for lightly coloured shells for the best contrast. The bigger the shell, the easier it is to work with. Polaroid emulsion lift on shells VENJ pressure gage shell, Polaroid emulsion lift on shell, by Jo Howell VENJ pressure gage shell, Polaroid emulsion lift on shell, by Jo Howell Once your lift is dry you can consider adding gold leaf. Add gold leaf Self portrait, Polaroid emulsion lift with gold leaf, on watercolour paper, by Jo Howell Timelapse of floating Polaroid emulsion lift on to glass 8. Opting for thicker glass allows you to create freestanding objects that allow for layering and interplay with light. Polaroid on thick glass Mary Eleanor Bowes Garden, triptych on 10mm float glass, Polaroid emulsion lift by Jo Howell The best part of using glass is the interplay you then get between the object and the light, offering great opportunities to rephotograph the object in different ways. These emulsion lifts on sea glass are a mix of impossible film, classic Polaroid film and i type film. Polaroid emulsion lift on sea glass Polaroid emulsion lifts on sea glass by Jo Howell This image was an Impossible film 600 shot on a classic Polaroid camera. ![]() Once your Polaroid lift is dry then you can work into it with a variety of different mediums. Adding drawings or painting to emulsion lifts on paper Polaroid emulsion lift with pen, on watercolour paper by Jo Howell Polaroid emulsion lift with pen, on watercolour paper by Jo Howell This was a smartphone image printed on Polaroid i-type then lifted onto a found ceramic fragment. This piece was found on Horden beach so was slightly sea worn but still usable. When creating an emulsion lift we are attempting to adhere by suction. The smoother the ceramic the better, and glazed is even better. Emulsion lift on to ceramic Fragment of ceramic, Polaroid emulsion lift onto ceramic by Jo Howell This was a photograph created by a workshop participant using their smartphone, and was printed on Polaroid 600 i-type film using a Polaroid lab. In this case I placed the image first before poking a pencil though the holes. Porous sandstone and limestone don’t work as well as more igneous rocks. The smoother the stone, the better the adhesion of the lift. Polaroid emulsion lifts on stone Hag stone, Polaroid emulsion lift on stone, photograph by participant, facilitated by Jo Howell This is a photograph taken on a classic Polaroid camera using Impossible film 600 colour film 3. But, once you feel comfortable, the sky is the limit! This is a little more fiddly than you might expect! I would advise trying a single image to learn the brushing technique, before launching in to multiple images or layers. Double up on the same image Yarden and Narla, Joiner photograph Polaroid emulsion lift on watercolour paper by Jo Howell This is a photograph taken on a classic Polaroid camera using Polaroid 600 colour film. Each adding its own unique way to read the humble Polaroid. Simple but always effective! You can manipulate the emulsion to have different shapes, you can tear it, you can encourage folds. Polaroid emulsion lift straight onto watercolour paper Petrol station, Polaroid emulsion lift on watercolour paper by Jo Howell ![]() Recent short about Polaroid emulsion lift onto glass 1.
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