Why Liquid Light? It's such a flimsy and temperamental coating, I've never really seen it live up to any of its claims over 20 years – even on crockery. Why don't you simply use Kodak Fine Grain Release stock (7302) - you expose it under an enlarger, you can process in traditional bw print chemistry and it is durable, scratch resistant and (most importantly) transparent (not translucent). Liquid Light is an Edsel in the back paddock that looks like it may rip down the road, but it has never started (and never will). Peter
Thanks much to everybody for the excellent suggestions – great info! I'll report back how it goes. We were processing in trays, and had coated acetate film with Liquid Light* emulsion just before with spongepaintbrushes, and dried it with hair driers. Next we'll try: - spraying some clear varnish on and drying overnight then - coating with Liquid Light and letting that dry overnight then exposing and - processing very gently in buckets, in slightly cooled chemicals (hmm, I guess we find a fridge nearby? or ice cubes . . . ) and then setting up a better drying rig and drying the strips with hair drier. Depending how it goes we might try slightly longer exposures and shorter development time to lessen the wet wiggly duration of chances for emulsion floating off. I'm also feeling like maybe in this technique one should be prepared for extraordinary darkroom feats of keeping emulsion and film together, almost treating it like marbelling paper where you're carefully lifting the base through the liquid to catch the floating suspended emulsion / ink / image, then keeping it there to dry. Darkroom acrobatics, hurrah! *(fyi “Liquid Light” is a paintable photo emulsion for alternative surfaces - http://www.rockaloid.com/products.html)
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