Dry photopolymer polymer film is a delicate high-tech emulsion
of light-sensitive acrylates, held between two layers of mylar.
FILM ALWAYS NEEDS TO BE FRESH.
Old film supply loses the ability to register subtle graphic
information and delicate halftones...
the film then is still usable but becomes hard and contrasty.
Generally, film supplies should be used within TWO YEARS
of purchase. Good suppliers frequently check the current film SDS,
ensure their master rolls of film are fresh, and ship the film
in thick black light-safe packaging. Also, rolls that are rolled too tightly
can damage the film, lead to cracking, flowing, or wrinkles.
Like any other darkroom material, the film needs to be kept away from daylight
at all times. Any stray light will pre-expose sections of film.
U S E Y E L L O W S A F E L I G H T
When handling film, during lamination, exposure and development,
until drying the developed plate.
Examples for exposure sources include: cheap 500-100W halogen lamps,
UV LED curing lamps, THE SUN, mercury vapor or metal halide exposure units,
photographic flood lights (500 Watt or more).
A vacuum frame is useful but not essential. Artists also get good
results by using thick sheets of glass as a contact frame.
highly recommended to get tone and rich blacks. (Takach / Boegh)
After development plates can be sun-hardened or exposed further, to
help cure and harden the plate fully.
The Decisive Moment
The Photopolymer Gravure Art and Photography of Henrik Bøegh
by Friedhard Kiekeben, 2018
The Danish artist Henrik Bøegh is known as one of the most prolific advocates for safer printmaking.
The NEW Color Intaglio Type
Keith
Howard's new full color photopolymer process involves the use of
digital halftones made on an inkjet printer, thin transparent PETG
plates that serve as the matrix for ImagOn film, and crucially, a new
method of registering plates through the inverse placement of the plate
on the press bed. The fact that the plates are transparent allows for
the perfect sequential alignment that is required by a multi-plate
project in full color. The result is a stunning new intaglio aesthetic.
Adam Worth, RIT
large-scale color Intaglio Type,
click on image for close up of this print
