![lumen print lumen print](https://mir-s3-cdn-cf.behance.net/project_modules/disp/9561ac8138503.560b7db421902.jpg)
Simply put, this technique employs (usually ‘expired’) black and white photo paper exposed to UV to create photograms from objects/negatives placed on top.
![lumen print lumen print](https://1.bp.blogspot.com/-bD3a3GEaa_I/VRI8m7pwpBI/AAAAAAAAIcU/w4PwduncwA8/s1600/img134.jpg)
And one of the processes I use most regularly in my personal photography practice is the lumen process. Much of my work is created outside now, not so often in a darkroom, but in a ‘sunroom’. The Fallen – an unfixed original created with botanics with its scanned and ‘fix mimicking’ digital manipulation end result The Fallen – an unfixed original created with botanics with its scanned and ‘fix mimicking’ digital manipulation end result1 I’d say about 12 years went by without me really spending much time behind the lens, and certainly no time in a darkroom. But I found myself involved with photography less and less. It was at this time that I became rather attached to Ilford films and papers.Īs life went on, digital came and I made use of it easily, especially when I retrained as a journalist and ‘traditional’ photography began winding down. Working with square format and 5x4 film cameras was always when I was at my happiest. I may not have gone on to be a war photographer, but I did go on to study photography at college (way before the birth of digital) and can remember always being slightly terrified by (I think a lingering childhood fear of the dark fuelled this) but always drawn to the darkroom.įollowing college, I had stints as a medical, portrait and commercial photographer. When asked by the school career advisor what job I wanted, my reply of “a war photographer, to show the world the futility of fighting” was met with a prompt “don’t be silly, think about getting a proper job”. There was a darkroom in the art class, but it was never used it acted like a beacon of intrigue to me. My passion for photography began in secondary school. I am a photographer, but trying to explain that I specialise in photographic processes that may not include a camera has led me to describing myself a photographic artist. The challenge in this process is arranging materials in subdued light into an interesting composition.Even when you have a love of film and traditional darkroom practices, there’s always room for alternative photo process experimentation as ecological photo-artist Josie Purcell knows well. So leave your camera behind and try this simple sun print. Mix and match natural and artificial materials Try using anything opaque from a $2 shop artificial stuff like glass or plastic. Spray with water or use early morning dew to strengthen tonality The hour exposure also gives a modelling effect from shadow movement.
![lumen print lumen print](https://img1.cgtrader.com/items/97943/af02cb5f3d/large/great-pyramid-of-giza-3d-model-stl.jpg)
Paper imperfections can add texture and varied tones to the printįresh blooms and green leaves give varied tones due to differing density. Ilford contact printing paper produces a gold. Ilford bromo paper produces a pink/grey Agfa Brovira gives a light tan, while Forte Polywarmtone produces an orange/red. Different papers produce different tones. Scan print and you will have an interesting result. Follow with 5 minute wash for RC paper, or 30 minutes for fibre paper.ĭry overnight. Return print to darkroom, wash in water(optional) then use fix bath for three minutes. Go and set up wash and fix bath, then have a cup of tea. Printing out frames are ideal, but can crease single weight paper. In darkroom, place plant material on old photographic paper, using a backboard and place sheet of glass over top. Explore your garden or local park for nature material, flowers, leaves, seeds are ideal.