Fuji Image Transfers and Lifts with Daylab Instructions

https://www.youtube.com/watch?v=qRDU1kAq7Is   WOOD TRANSFER COLOR LASER–GOOD ONE

https://www.youtube.com/watch?v=0d3P5r47oHU    LASER JET IMAGE ON WOOD

https://www.youtube.com/watch?v=5Kc7SIZQINM   POLAROID GLASS NEGS!

https://www.youtube.com/watch?v=PpCOoNh6evE  RECLAIMING NEG OF FUJI FP100  BLEACH TOILET BOWL CLEANER

https://www.youtube.com/watch?v=x_Mx_te1gEA       inkjet transfer images

https://www.youtube.com/watch?v=y3AhszEmqOE     inkjet transfer images–this is a really good one!  WITH LABEL WAX PAPER===DO THIS ONE!

https://www.youtube.com/watch?v=lrRtVChgcR0   laser jet transfer images

https://www.youtube.com/watch?v=qrt8exJxyrU  LASER ON WOOD  EASY MODPODGE OR GEL MEDIUM–WAIT 2 HOURS-SPONGE

https://www.youtube.com/watch?v=Zq2O66QGCwg    LABEL WAX INKJET TO WOOD

FUJI INSTRUCTIONS
Worried about switching to Fuji film or having problems with transfers?  We have the solution for creating great results.
Below are actual Fuji Transfers done in the light and a darkened room. Can you tell the difference?
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indarkfujiforweb
You will discover that Fuji works similar to the old Polaroid. However, Fuji colors have always been much better and more correct than Polaroid. 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.
  Important Update. The colors of Fuji film are much brighter and truer than Polaroid’s. Fuji also reveals more of the color of the paper it is put on. To avoid too much yellow, use a whiter paper or add cyan and magenta filters to your Daylab prior to exposure. This will minimize or eliminate the yellow results some new users are complaining about.
You should be happy with any method you have been using with Polaroid film. The only difference is that the Fuji Negative is more sensitive to light. Therefore you need to protect the sides from reflective light only when peeling apart. We suggest a box opened from the top. This solves the problem and makes it easy to work with the negative. Everything else should be the same.
Method One using Strathmore Bristol Sheets, Plate Surface
Fuji film has a higher ISO than Polaroid 669. 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. 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. Make you image using the Daylab. Immediately after pulling out the film, cut off the end with the emulsion. Also cut off the other side of the exposed film set, but be sure to leave about a 1/2 tab. Fold the tab on the side of the original image back against the photo and place this side against the paper on the clipboard. Insert the tab under the clip along with the paper. At this point, align the paper and image as you desire. Lift up the image and grab the tab that you bent back. 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. The two will separate and the positive side can be thrown away. Use your hand, using little pressure, smooth out the negative side so all of it is lying flat on the paper. Using the brayer roller, apply heavy pressure from the tab to the bottom of the image. Do this motion twice and rotate the clip board 90 degrees. Repeat this motion twice. Again rotate 90 degrees. Continue this until you have completed a 360 rotation. Release the tab from underneath the clip but keep the paper attached. Rest the brayer on top of the image near the tab. Apply light pressure and start moving the brayer down the image while simultaneously pulling the negative from the paper. Keep the negative and the brayer pushed against each other while pulling the image off the paper.
Alternative Method Two
1. From 4×6 or 3d image on Copy System or slides on Slide printers, create a Fuji Print on FP-100C instant film.
2. Cut-off the top part of the negative/positive set approximately 1 inch above the film set. You can also cut off the bottom, approximately 1/2 below the film set if you want a cleaner transfer.
3. We use a clip board for our transfers to make it easier to align the film and art paper but you can do this on any hard surface. Place your choice of paper on the clip board under the clip. Place the negative/positive set on top of the paper, with the negative (black side) up and the top 1” under the clip.
4. After a total of 15-30 seconds, carefully pull out the positive (white side) while pressing down on the negative. The longer you wait, the better the positive will look for possible emulsion lifts. We have been successful doing this step in daylight by keeping the negative as close to the paper as possible while peeling off the positive. If you have problems in the beginning with daylight, either dim the lights or work in as dark an environment as possible. The key is to minimize light from the sides.
5. Once the positive has been removed, tap down the negative with your fingers to secure in place. Every else can now be done in complete daylight.
6. Using your finger tips, apply pressure to the negative and rub across the complete negative to begin the transfer to the paper.
7. Use your roller for approximately 15-30 seconds to press the negative into the paper. It is best to work in one direction only to minimize shifting of the negative.
8. After a total of approximately 90 seconds, peel the negative from the art paper by applying pressure with the roller while peeling up the negative against the roller.
EMULSION LIFTS
1. From 4×6 or 3d image on Copy System or slides on Slide printers, create a Fuji Print on FP-100C instant film.
2. Allow the negative/positive film set to develop for the full time, approximately 90 seconds.
3. Separate the positive and negative and place the positive in warm water, at least 120 degrees. The hotter the water the quicker the emulsion will separate from the backing but the lower the temperature the easier it is to work with.
4. When the emulsion starts to separate, remove the positive to a tray of cool water. Carefully pull off the emulsion which will feel like a large decal. It can then be transferred to the surface you want to place it on .
5. The emulsion can be transferred to any surface. We first coat the receiving surface with MOD PODGE MATTE-MAT (available at Michaels). Carefully place the emulsion on the surface you have coated and manipulate as you desire. When it dries, you can coat the image to protect it. There are many other adhesives that will work as long as they are not quick drying.
Remember this is one of a kind art. Experiment to create your own individual style.https://www.facebook.com/groups/277760768949881/this link above has excellent directions–here they are:The Printmaking Process: Is Polaroid Transfer A Lost Art?

As long as there is Fujifilm, the Polaroid transfer image process is not dead, just renamed — Polaroid / Fuji transfer or Fujiroid(?) transfer. Since Polaroid is no longer making peel-apart film, people have turned to Fujifilm.There are two types of transfer processes using peel-apart film: image transfer using the film back (the part you would throw away) and emulsion lift (lifting off the entire developed-image along with the chemicals from the paper).I had an opportunity to do a Polaroid / Fujifilm workshop at Ed Hinkley’s Studio, where I also take a watercolor class. We used both Polaroid and Fujifilm so people could see the differences in the techniques and the results. Using the Daylab and Daylab Copier, the Polaroid transfer compared to the Fujifilm has more subtle tones, whereas the Fujifilm has brighter hues. As for the emulsion lifts, the Polaroid lift is more ephemeral, whereas the Fujifilm looks and handles more like a decal. One film is not necessarily better than the other, just different. Note that each transfer or lift, with its own individual marks, is distinct and cannot be duplicated.


Polaroid Transfer of Sailboat.
Slide image copied to Polaroid film using Daylab.

Polaroid Emulsion Lift of Sailboat.
Slide image copied to Polaroid film using Daylab.

Fuji Transfer of Objects on Daylab Copier

Fuji Emulsion Lift of Objects on Daylab Copier

Ed and student Marie-Pier.
Fujifilm in Polaroid Camera

Fujifilm Transfer of Ed and student
Marie-Pier. Fujifilm in Polaroid Camera.

The Transfer Process

We used the transfer process described on the Fujifilm website, which involves pulling apart the film in a “dark box” so that the film is not exposed in the light. Once the film is pulled apart, you press the chemical backing (not the positive image) to paper.


Objects put on the glass of the Daylab Copier

Sample image of objects copied to Fujifilm
in Daylab Copier

Marie-Pier removed the Fujifilm backing,
clipped on paper, from the dark box and
is now squeegeeing the image on paper.

Marie-Pier rubbing Vaseline on the surface

Finished Fujifilm transfer

The Emulsion Lift

The emulsion lift process involves soaking the Polaroid or Fujifilm developed-image in hot water, lifting off the image along with the chemicals from the paper backing, and putting the image on paper.


Put the Fujifilm developed-image in hot water
and peel off the image from the paper backing.

Put the emulsion lift in cold water.

Put matte medium on the paper as a glue.

Transfer the emulsion lift to the paper
and add more matte medium on the surface.

Marie-Pier’s original digital photo of Moroccan rugs,
on the left, and the Fuji emulsion lift on the right.

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