POP process

From: DHTalman@aol.com
Date: 11/04/04-09:23:15 PM Z
Message-id: <1ea.2eb985d7.2ebc4c23@aol.com>


I've just learned about the POP process and am considering it for a series of
very large prints, large enough that I'd need to buy at least one roll of POP
paper from Chicago Albumen. The paper is pricey and although I haven't
calculated costs for the gold toner, I'm sure that will add up as well. I want to
assess whether I'll be getting a print which has enough more appeal than
silver gelatin to pay those prices.

I'll be working with paper negatives--people have put printer's ink on their
bodies and made imprints on paper. Thus, some parts of the neg are heavily
inked but the lighter parts of the body are much less contrasty. I read that
POP retains good detail in the highlights and works well with high contrast

The process sounded quite simple at first: ability to see the results as it
is being exposed and only a fixer and toner following that. As I read
further, the process sounded finicky: touching the paper leaves finger prints and,
more important, humidity and heat ruins the paper. I couldn't store a large
roll in my frig, which is recommended.

I'd love to hear from anyone who is willing to share their experience with
this paper about the above issues and any others you think I should be aware of.

What I would really love is to spend a day or so in someone's studio who uses
the process and follow them through it and see some prints. I live in
central Mass and have worked a fair amount with cyanotype and Van Dyke.


Received on Thu Nov 4 21:23:36 2004

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