Step 1: Materials Required
This process may seem material rich, which may discourage some from jumping in and giving it a try, but reasonable alternatives exist at a lower cost that will still yield stunning results.
To create color separation negatives, acquire these items:
- a computer and PhotoShop, Gimp or other photo editing software
- a digital image of reasonable resolution to create a print of desired size
- transparency film
- photo printer
To create light sensitive coating, commandeer this gear:
- liquid water color pigment in tubes
- saturated solution of dichromate (ammonium, sodium or potassium): 3 x 5ml
- 3:1 cut gum Arabic solution: 3 x 5ml
- mortar and pestle
To create final print, jack this stash:
- watercolor paper
- reasonable quality paintbrush that won't streak (quality hake brushes are quite inexpensive)
- masking tape
- print frame This does not have to be a deal breaker. A crude print frame can be made by hinging two thick sheets of glass together to sandwich the paper/negative combination. A local glass shop should be able to supply two 11x14" sheets of non-UV glass with polished edges for maybe $15 An even less expensive method that is limiting in that it permits printing with overhead lighting only is just using one pane of glass atop some flat backing. Be creative, O Pioneer.
- light source or our star, Sol
- photo trays
A work table...an Ansel Adams print of Canyon de Chelly - 26 x 20.
A 16x20 contact print print frame. This is a Bostick and Sullivan maple model. Unbeatable product.
Two sheets of *gelatin-sized* 11x14 sheets Lenox 100 paper
Color separation negatives (10" x 7" approx.)
Mortar and pestle
Gum Arabic (250ml 3:1 cut)
Ammonium dichromate (100ml of saturated sol.)
2" Hake brush
(Off camera: three 11x14" trays and a pencil that was going to make a later appearance but ended up on the cutting room floor.)