Fuji Transfers

Three quick announcements. One of my pinholes was just picked up by PBS and appears here.

My pinhole article appears (we think) in Shutterbug's upcoming August issue.

Also, don't forget Worldwide Pinhole Day. Here you will find a listing of events and workshops.

Well, the Arches Hot Press paper finally arrived!

This is my first transfer with Fuji Instant film and my Zero 4x5. The technical data is first.

The Zero is a 4x5 with 2 extensions making for a focal length of 75mm. If you haven't seen these or used them you are in for a treat. No one makes a better thought out or executed pinhole camera than Zernike Au of Zero Images in Hong Kong.

The pinhole aperture is f/216. The Zero has multiple pinholes, one for each extension plus zone plates for each extension. I use the 75mm because there is no vignetting at all. I also like the semi wide perspective. The transfer here was taken on a very overcast and windy day with an exposure of 40 seconds (with reciprocity figured in.) That also explains the greenish hue.

The Fuji Film is their 4x5 answer to Polaroid and comes in packs. This requires a Fuji pack holder. These pack holders are disturbingly hard to find. (Loosen up Fuji!) If you look on ebay you can find them used and pay accordingly.

The paper is Arches 140lb hot pressed paper and is the only paper I have found suitable for these transfers. I have tried Epson digital printing papers, but they do not stand up to the transfer process and they will pull bits and pieces from the surface. The Arches also will hold a range of tones better. Oddly enough, in a town that prides itself on its art community, I haven't found Arches hot pressed paper anywhere in San Diego. I finally found it online.

The Arches is gum sealed on all four sides, so you will have to seperate it with a pallette knife and be very careful when doing this, both for safety and be careful not to slice the paper. It's expensive and easy to tear.

I have not tried the premium gloss digital papers as yet for lifts.

The difference between a "lift" and a "transfer" is that with a transfer, you are actually transferring the developing image to paper. Therefore, you have one and only one image.

A "lift" is where the actual emulsion is lifted from the Fuji substrate and transferred to the paper. It is like handling wet butterfly wings (no, PETA, I haven't tried that, but I will let you know how the cat furr balls come out.)

The "interesting thing about Fuji lifts as opposed to Polaroid lifts is that Fuji uses a different emulsion base. While it is stronger, it is more difficult to make it adhere to paper. What I discovered is that the best way to get it to lay flat (or semi flat) is to let the lift dry completely. Then spray it liberally with Premier PrintShield and place it on Pictorico Transparency film. When dry I put that over 81/2x11 print paper, taped it and framed it. I'll explain my experiments in the next few epsiodes and let you know how I like that when it grows on me a bit.

The Fuji instant film packs are just that, packs. As such, unlike the Polaroid single sheets, if you are going to make transfers, you must do each one as you process. In other words, each one must be done in the field in a portable changing bag. You can't wait until you get home to do several like the Polaroids.

So my process for the above print is this. I took the shot. I then replaced the dark slide and put the back in the changing bag. (Since both your hands are working, you will find an assistant helpful for timing.) You can put a pocket watch next to the bag and thus eliminate the assistant.

I did pre wet the paper since this was done close to home. I think you will find that a dry transfer is also possible with the Fuji.

In the changing bag are 3 other items; a roller brayer, my Arches pre cut sheets and an 8x10 piece of plywood for a platform when rolling the image. I cut the Arches in two since it comes in 10x14" blocks. This gives me 40 10x7" sheets. These are more than suitable for transfers. With Polaroid, it was best to wet the paper and make the transfers on the wet paper. With Fuji, I am finding dry works (in the field this is helpful) but wetting the Arches with hot water prior to transfer is best. Water from the tap works if it is very hot.

I pull the film through the processor and time 15-20 seconds. I then seperate the film from the negative (in my changing bag) and (by feel) quickly place the negative on the Arches and roll, with a pretty heavy hand, the Fuji negative material. I time for a total of 90 seconds. You can open the changing bag at this point.

If you are lucky, you will have a transfer image. It will probably be crooked as all get out, but it should be pretty good. I carry an empty printing paper box to put all my images in for safety and protection on the way home.

The peeling process will often reveal (as in the print above) show a slight "blemish" at the bottom or top of the transfer. For some reason with the Fuji this is more prominent and I think it is because I am not using enough pressure on the roller. Time and experimentation will tell.

Now, some of my transfer friends, use a 1/2 and 1/2 water/vinegar bath to finish the print to "enhance" the color, but I have never found this to be necessary or all that enhancing. But, you can experiment.

I do most of this Matthew Bradyesque work in the open trunk of the car. I will tell you, if you get one good image, it will take a lot of time so why not quit while you are ahead? This is not for the impatient or timid.

I used to do quite a few transfers back in the day. Since Polaroid's "semi demise" I have been gathering my utilities and will probably do a lot more. I will tell you that Fuji's film surpasses Polaroid 79 in every respect except the single sheet capability.

Have some additional "fun" with your pinhole 4x5. (Oh and yes, I did buy a bunch of 4x5 holders. Looks like I am going to start carting these around, too.)

BTW...given what I go through for these and, as they are one of a kind, I charge accordingly. Before you sell these or give them away, SCAN 'em. Printed on matte paper they retain a large bit of their originality subtlety.

Have fun! Do pinhole and transfers!