Vivitar Instant Slide Printer - Impressão Instantanea Slides

Vivitar Instant Slide Printer.

As fotos mostradas abaixo são meramente ilustrativas pois o equipamento se encontra na caixa, novo totalmente sem uso, com manual de utilização em 6 linguas. Não acompanha o filme Polaroid 669.

Trata-se de uma impressora que permite imprimir slides e negativos em fotografia tipo polaroid em branco e preto e colorido.

Fabricado na Holanda

Dimensões da embalagem 32X19X17 cm peso aproximado na embalagem 1,8 Kg - 

Dados para Calculo de Frete via Sedex  CEP de origem 04634-040 link para cálculo do frete

http://www.correios.com.br/encomendas/precos/default.cfm

POLAROID IMAGE TRANSFER

Image transfer is a technique by which any colour Polaroid peel-apart film can be used to create an original print on a range of non-photographic surfaces. After the film has been exposed in the normal way it is pulled from the camera or back to start the development. However without waiting the usual 60 seconds, the film is almost immediately peeled apart, the print discarded, and the negative placed face down on a suitable receptor sheet. The back of the negative is then lightly rubbed to help transfer the image and after one or two minutes gently peeled from the receptor, hopefully leaving the image behind. Due to the nature of the process each print is an original and it is unlikely that you could ever get exactly the same result twice. The timing of peeling of both the original film and the transferred print, along with the receptor surface texture, temperature, and humidity, are all variables affecting the final result. Listed below is a step-by-step guide to the basics of the image transfer technique

FILM TYPES
Any Polaroid colour peel-apart films can be used. These include:
Type 669 for cameras, medium format backs and the Vivitar instant slide printer
Type 59 for the 5x4" 545 sheet back.
Type 559 for the 5x4" 550 pack back.
Type 809 10x8" sheet film.
Black and white peel-apart films cannot be used.

CREATING THE IMAGE LIVE
The film is exposed directly in a Polaroid camera or back creating an original Polacolor image specifically for transfer. The transfer in all cases except when using film Type 59 must take place immediately, therefore it is difficult to work on location. With Type 59 this problem can be avoided as the film can be removed from the back after exposure and taken back to the studio for development and transfer.

WORKING FROM EXISTING IMAGES
Existing slides can be copied onto Polaroid film using one of the various Polaroid or Vivitar instant slide printers or projected directly onto the film using a conventional enlarger. Working with a slide printer or enlarger gives greater freedom in image control allowing multiple copies of the same image and easier experimentation with transferring techniques and materials. Using an enlarger allows greater freedom for cropping, composition and burning and dodging. To print from an enlarger a Polaroid back is laid on the baseboard with a sheet of white paper in place of the film. The image is composed and focused and then the location of the back marked before it is removed, loaded, replaced and taped in place. Closing the dark slide by incrementally easily produces test strips for exposure and colour.

PROCEDURE

PREPARING THE RECEPTOR
Paper designed for watercolour or printmaking purposes makes the best receptor although a wide variety of materials including silk and velvet can be successfully used. The main requirement is for the receptor to absorb sufficient of the emulsion to prevent it being peeled away when the negative is removed. Some papers can be used dry while others require soaking in water. Dry transfers usually retain more detail although they run the risk of emulsion peeling, while wet transfers give a watercolour effect. It is important that the receptor is placed on a flat surface such as a piece of glass or Perspex. To avoid image blur due to movement the receptor must be held firmly in place. With wet transfers the adhesive action of the water is sufficient, however with dry transfers it is best to tape the sheet in place. Excess water should be removed from the surface with a paper towel, squeegee or windscreen wiper.

PROCESSING THE FILM
The film is exposed as normal and pulled from the camera or back. This spreads the developer across the film and the image dyes begin migrating from the negative to the positive, reaching completion in sixty seconds. For the transfer process however the film is peeled apart prematurely, after about fifteen seconds. This arrests the dye migration, leaving the negative with virtually all the
cyan dye, about half the magenta, and very little yellow, resulting in a cyan bias to the final image. This can be allowed for by using about 20 CC red filtration when making the initial exposure or slide copy.

TRANSFERRING THE IMAGE

Once the film has been peeled discard the PRINT and place the NEGATIVE face down on the receptor sheet. Pausing for too long at this stage risks drying out the dyes. Gentle, even pressure is then applied to the back of the negative by hand or roller to ensure complete contact. After about a minute and a half the negative is gently peeled away in a smooth motion, to reveal the transferred image. This can then be reworked and cleaned up while still wet. To seal the image and prevent colours fading over a long period of time a UV absorbing varnish can be applied.

PRACTICAL ADVICE

SUBJECT MATTER
The process has an overall 'dulling' effect; bright colours appear less saturated while contrast is reduced. This can produce pleasing results, however, it is well worth bearing in mind if creating an original image for transfer. Due to the high contrast and colour saturation of transparency film this is less of a problem when making copies from existing slides.

EXPOSURE
Although Polaroid recommended normal exposure, in practice I found that images for transfer required over-exposing by one to one and a half stops. It has been suggested that using the film cold, (i.e. straight out of the fridge) gives better colour rendition, however this will considerably alter the development and subsequently the peeling times. In general CC20 red or CC20 magenta gives fairly reasonable colours in flash or daylight.

RECEPTOR SURFACES
The receptor surface must be sufficiently absorbent to take the emulsion. In practice I found it best to pass all papers through a water bath before removing excess water with a squeegee. Less absorbent papers are left to soak for up to five minutes while more absorbent types require only a quick dip. Some workers wipe down the receptor surface with alcohol to make the dyes adhere better. A good paper to start with is either Silver Safe 200g/m2 (absorbent) or Waterford Tub sized Printmaking Paper (less absorbent). Successful transfers have been made onto silk, velvet, vellum, rice paper, wood veneer and unglazed ceramics, so experiment.

WHEN PROCESSING THE FILM
After fifteen seconds development, the print is peeled from the negative and discarded. (If using Type 59 film snip off the metal clip at the trap before peeling). Waiting longer before peeling will allow more of the dyes to transfer to the original print and give a heavier cast. If peeled sooner than ten seconds, the dyes may not have developed sufficiently to transfer. In practice I found that with early peeling the emulsion is too fluid to transfer well and waiting too long risks the dyes running out. Once peeled the negative must be transferred immediately or the emulsion will very quickly dry out.

WHEN TRANSFERRING THE IMAGE
Care must be taken to apply pressure evenly to the back of the negative during the transfer. This is best achieved by placing a piece of card over the negative before using a roller or squeegee. Continued pressure will increase the density but may result in a muddy image. Light areas transfer well but shadows and blacks may require local pressure to give sufficient density. This is best applied with the back of a spoon or similar implement.

PEELING THE IMAGE
The timing of peeling depends largely upon paper type and absorbency. Highly absorbent surfaces may require shorter times, as if left for too long, the negative may begin to dry onto the receptor and prevent successful peeling. Conversely, less absorbent surfaces will require longer times. A good time to start with is one and a half minutes. Peel too soon and the dyes will not have fully transferred to the receptor giving a colour cast. Care must be taken when peeling back the negative to avoid lifting the emulsion. A slow gentle motion at a sharp angle seems to work best. If the emulsion does start to lift it can be carefully replaced with a craft knife before peeling continues.

RETOUCHING
Subsequent retouching of the transfer depends upon the receptor used. Transfers with a paper base can be retouched or highlighted with watercolours, crayon, water-soluble pencils, pastels etc. Transfers onto silk and other fabrics can be further coloured using fabric dyes.

Wednesday, March 4, 2009

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Shooting Slides and Choosing a Process
Here it is, the long awaited (at least by Jessica) explanation of exactly what it is I was doing to create the daily Polaroids I had been posting a few months back and hope to start posting again soon. The first step is to shoot 35mm slides of the images to be made into Polaroid transfers and emulsion lifts.

My Canon AT-1 and 400 Sensia slide film

One thing to keep in mind when shooting slides for this purpose is that the format of the Polaroid film is different from that of the slide film. Thus, there will be cropping of the image in the conversion process. For this reason it is important to leave a little space on the sides of the image when shooting landscape style or the top and bottom of the image when shooting portrait style. For example, below is the original slide image on the left with darkened areas on the top and bottom representing the part of the image which will be cropped in the process. Next to it on the right is the emulsion lift made from that slide.


Once the slides are in hand, one must decide between two different processes: the transfer process or the emulsion lift process. This is an aesthetic decision, as each process creates a different look. Below is the same image created as an emulsion lift on the left and a transfer on the right. An emulsion lift retains much of the color and clarity of the original image and the emulsion can be moved and warped to create wrinkles and waves as seen in the sky below. A transfer results in a warmer and more muted color palette than the original and it often has a soft painterly quality. Once the aesthetic choice is made, the slide printer can be loaded with film and the corresponding process begins.

Loading the Polaroid Film
There are several Polaroid slide printing machines available, but for this tutorial I will describe the process using the Vivitar Instant Slide Printer.

Vivitar Instant Slide Printer

The best film for doing transfers and emulsion lifts using this machine is Polaroid 669.

Polaroid 669 Film

The rollers must be cleaned before loading the film. This can be done with lint free tissue and water if there is dried chemistry.

Clean rollers

The film should be handled from the side and placed into the machine with the window facing down toward the lens.

Window with black paper protecting the film

The white tabs should fit into a recessed area below the hinge for closing the hatch.

White tabs

Once the film has been loaded properly, the hatch can be closed.

Closing the hatch

The black paper can now be pulled out so that the film is ready to be exposed to light. There are 10 shots in this pack of film and the hatch should not be opened again until the last image has been pulled through the rollers.

Pull out the black paper

With this pack of film both emulsion lifts and transfers can be made. Before exposing each shot determine which process you want to use, then follow the appropriate set of instructions. I will provide detailed instructions for each process in Parts 2 & 3 of the tutorial.