![]() Keep the negative and the brayer pushed against each other while pulling the image off the paper.ġ. Apply light pressure and start moving the brayer down the image while simultaneously pulling the negative from the paper. Rest the brayer on top of the image near the tab. Release the tab from underneath the clip but keep the paper attached. Continue this until you have completed a 360 rotation. Do this motion twice and rotate the clip board 90 degrees. Using the brayer roller, apply heavy pressure from the tab to the bottom of the image. Use your hand, using little pressure, smooth out the negative side so all of it is lying flat on the paper. The two will separate and the positive side can be thrown away. With your left hand, place pressure on the top of the clip and with the right hand grab the tab and in one brisk movement separate the positive and negative side of the film. Lift up the image and grab the tab that you bent back. At this point, align the paper and image as you desire. Insert the tab under the clip along with the paper. Fold the tab on the side of the original image back against the photo and place this side against the paper on the clipboard. Also cut off the other side of the exposed film set, but be sure to leave about a 1/2 tab. ![]() Immediately after pulling out the film, cut off the end with the emulsion. We have posted examples of image transfer done in complete roomlight and a darkened room. Attach your hot press paper to a clipboard and set up in desired work area. You need to protect the exposed film from light coming from the side when only during the few seconds you are applying it to the art paper. Method One using Strathmore Bristol Sheets, Plate Surfaceįuji film has a higher ISO than Polaroid 669. This solves the problem and makes it easy to work with the negative. Therefore you need to protect the sides from reflective light only when peeling apart. The only difference is that the Fuji Negative is more sensitive to light. You should be happy with any method you have been using with Polaroid film. This will minimize or eliminate the yellow results some new users are complaining about. To avoid too much yellow, use a whiter paper or add cyan and magenta filters to your Daylab prior to exposure. Fuji also reveals more of the color of the paper it is put on. Important Update. The colors of Fuji film are much brighter and truer than Polaroid’s. For those of you that are having problems with Fuji, the only thing different from Polaroid is that you have to protect the Fuji negative from light only during the transfer process. However, Fuji colors have always been much better and more correct than Polaroid. You will discover that Fuji works similar to the old Polaroid. Worried about switching to Fuji film or having problems with transfers? We have the solution for creating great results.īelow are actual Fuji Transfers done in the light and a darkened room. LABEL WAX INKJET TO WOOD FUJI INSTRUCTIONS LASER ON WOOD EASY MODPODGE OR GEL MEDIUM–WAIT 2 HOURS-SPONGE Inkjet transfer images–this is a really good one! WITH LABEL WAX PAPER=DO THIS ONE!
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