Polaroid Emulsion Lift - Get creative with Polaroid film | Jahan Saber | Skillshare

Polaroid Emulsion Lift - Get creative with Polaroid film

Jahan Saber

Polaroid Emulsion Lift - Get creative with Polaroid film

Jahan Saber

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5 Lessons (15m)
    • 1. Introduction

    • 2. Everything you'll need

    • 3. Take a photo

    • 4. Transparency

    • 5. Polaroid Lift

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About This Class

This class is all about getting away from the typical constraints of working with Polaroids. I'll teach you how to give your Polaroid images a completely new look. You'll learn to peel apart the photograph to make a transparency and then transfer that onto a new surface of your choosing! 

Meet Your Teacher

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Jahan Saber


Jahan Saber is a photographer and artist born (1990) and based in Vienna, Austria. He is the founder of "DEVELOP" - a brand that focuses on raising awareness for the analogue process in photography and beyond. Coming from a commercial background in the photo industry he sought out to seek out a means of decelerating the over-saturation and over production of photographic media. Shooting and printing exclusively with the analogue process enables him to further his artistic approach into creating a more honest and connected portrayal of his surroundings.

Jahan has travelled across Europe throughout the past 4 years discovering his style and approach to analogue photography. Throughout his journeys he self published various photo-zines and small book projects.

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1. Introduction: hello and welcome in this class. I'm gonna be teaching you how to make Polaroid lift or a Polaroid transfer. So basically, what we're doing is we're having a normal Polaroid photo that you take with your camera on . We're gonna transfer the image onto a new surface. So in this class, I'll give you a run through of all the things that you'll need to do in order to do this Andi, step by step tutorial of what you're gonna have to do to get your final image on your new surface right from the start. I need to say that this Onley works with Polaroid originals Film irrelevant if it's black or white or color. But it won't work with Fuji Film in stacks film. So that's just something you should know right from the start. So let's dive right into the next video. Andi, I'll let you know what you need in order to make this happen. 2. Everything you'll need: Okay, So to get started, the first thing that we're obviously gonna need is a Polaroid camera on. And it doesn't matter what kind of Polaroid camera is. So it could be one of these liken SX 17th. Or it could be one of these, like, 600 type cameras. It really doesn't matter as long as it's one that shoots Polaroid originals. Phil, that's really, really important. So you're gonna be have to using one of those. Like I said, the Fujian Stacks phone doesn't work. I haven't figured out a way how to do it with this on. I don't think that it works there. Few people that have tried and the way the film was put together is a lot more complicated . So I don't think that's something that you could remake work. But anyway, so Fuji in Stacks not recommended Polaroid originals is better. Now, the next thing that you need is a surface that you're gonna be putting the image on. I just use a paper so you can use whatever you want. This one is actually 300 grams, so it's it's quite thick on. It's important that you're gonna have a thicker paper because everything paper is not gonna work so well because you're gonna have to put the paper into water. Andi, obviously it's gonna be really difficult to work with if the paper is really thin. So I would recommend something around 300 friends thistles, Just something that you use for, like water colors for painting. You'll find plenty of different lights. I just went for the local brand that I got where I buy only art supplies stuff. So, yeah, this is 300 grams. And then the next thing that we're gonna need, which is gonna be re important is obviously like one of these developing trays. Because this is where all the magic will happen. We're gonna We're gonna fill this up with water, and we're gonna make the whole process happening. You're so I like to work less because of wine vault. It's good. Teoh. Keep all sorts of chemicals out of your skin if you can. The chemicals that are involved in a Polaroid of film aren't too dangerous. So you could probably do this without gloves on. I've seen a lot of people do it without gloves, but just to be safe, you know, if you have a cut on your finger is something you don't want toe. Have any of these chemicals go into your bloodstream? So just work. I was just in case they won't do you any harm, Sisters. The next thing that you need on one of these, yeah, if you use just important that it's pretty sharp. So these are all the things that we're gonna meet on in the next step. I'll show you how to make Polaroid transparency, and that's how the way that's how it will start the preparation process for actually getting the image off the theatrical right and putting it on two things. 3. Take a photo: Okay, So in the next step, what we're gonna be doing is first of all, we're gonna need a fresh photo. So this is a photo that I just took, like a minute ago on You can see that it's still it's still developing. It's not finished yet. Andi, it's really important that you use a fresh photograph because it will make it much easier to work with Andi. If you use one that's already like a month older, two months old or something like that or even a week, I wouldn't even I think it's a lot more difficult because the chemicals aren't really that fresh anymore. Andi. So I would really recommend using doing this with a photo that is quite fresh and that you just took or you could have taken it like the day before. But it would be really recommended that you do this like ASAP as soon as possible. So I'm just gonna wait until until this photo here is finished developing on, and then I'm going to show you exactly what we're gonna have to do to get into the next step. 4. Transparency: once we have our image, that's ready to work with. The first thing that we need to do is we have to separate the emotion from back on and make a transparency of the image. So the first thing that I'm gonna do is I'm just going to use my life on Technically, you could also do these scissors within my fits a bit easier. So I'm just gonna cut along here just like so under the same thing on the other side. So I'm slightly take this away. I'm gonna take my knife and then carefully cut kind of in the sleeve right here. So this is usually where the chemical sit on. I'm just gonna slide right, and like, so carefully separate that. So what we have now is we kind of have this flap here on. You can see that there is like a black flying here in black line here. So these are the last two things that we're gonna have to jump through. So I'm gonna take my life once again, just like so cut through that, do the same thing right here. And then what we're gonna do is we're actually gonna peel this apart. So I have to do is quite carefully on. And I'm gonna be doing this by bending it quite a bit. Now, on my left hand, you have all these this like this, like white kind of foil. And that's the developer. And then on my right hand, I'm gonna have the actual transparency on. And the reason why I'm doing this slowly is so that I decrease any amount of developer that's gonna be left on the transparency. So the slower I do this, the better it is right now that I've finished with this, all I need to do is separate these two. This I don't need any more. Put that away on. I have my transparency, which is ready to work with. So once I have this dumb take my scissor on, I'm just gonna cut around here because I won't be needing all of this. So what I want to do is I want to leave around like a millimeter of space. So on the same thing here on 11 time here. There we go. So now I have my ready transparency. Now, the only thing that we still need to do with this is we're gonna have to put this into the water so we can actually work with, so that will be the next step. 5. Polaroid Lift: So now for the next step, What I'm gonna do is I'm gonna place my transparency into the water. Andi, I'm going to use a brush. Teoh, wipe away all these stains and these residue of the developers All these white things right here. That's just leftover developer. And it's just gonna go away in the water real quick. So I'm just gonna place it in here like so. And then what you're gonna notice if I hold this a bit closer is the actual paper. The transparency is going to start toe, get these kind of wrinkles on what I can start doing already is I can, carefully with the brush, just like so one away on now all that developer is gone on and you can see the wrinkles air quite intense now. And if I play with the brush like so then we can see that transparency is actually slowly getting off the back of the paper. Sorry. The transparent film part is going away from here, and so something really interesting is happening right now, and usually what you have to do is you're gonna have to separate this top layer from this kind of cloudy layer, which is still on the transparency on here. And that's the gelatin of the film. So this is gonna make it a lot easier for us, so sometimes this'll won't happen. So you see, there's this is the actual image right here. This is what we're gonna be working with. So that's perfect. And then over here, what we have is the transparency with the Jellison layer on. This is what we won't need. So usually this sticks to this and what we're gonna have to do is we're gonna kind of, like, very carefully underwater petered apart. But because this was already well, it kind of just split away by itself, So that just gonna make it about easier for us. Onda, we won't need this at all, so I can just place this on the side. So now what we have in the water right here is the image, and this is what we're gonna be working with now. I would really recommend not to take this out of the water just yet because the moment you take it out, the consistency is very sensitive and it will. It will break and it will rip on you don't want that. So as long as the actual images still within the water, we can work with it. So what are we gonna do now? We're gonna take our surface. In my case, that's just this paper here. It's 300 grams. That's what started and we're gonna do is we're gonna put it in the water on DSO. This is one of the reasons why it's really important to use paper with the thicker consistency because otherwise, if you have, like, really thin printing paper or something, then you know you might get like, really difficult. The water is just gonna absorb the paper's gonna absorb too much water, and then it will be really difficult to work with. So what we're doing now is we're just essentially kind of like brushing that image back on to the paper and kind of creating a new surface on and what you can do. I mean, you can make, like, perfect edges in a way. So this is still floating on. You see it it becomes a bit of ah, like you gotta play around with it. Because if I would just, like, pull it out like this now, then you see, the the frame isn't perfect. The good thing is, we could just submerged under the water again on play around with it. And yes. So, essentially, this this turns into, like, you know you can do, You can do what you want with this. Like there's no rules to how you want your image to look. So what I'm gonna do is I'm just gonna make, like, a kind of like a Salvador Dali inspired clock kind of very psychedelic hanging around surrealistically. And I'm just gonna try and make that work. Yeah. So one thing we can do is we can if you want to make, like, a, like a good square, Um, you put the image just like so and then you always take one edge. You kind of hold up, down. So this is the edge that I want to work with, and then you take that out of the water and the rest is in the water. The moment you take it out of the water, the tension builds up, and then when you take it out again, attention is much stronger. And so, for example, like this, this is something I could do so I could keep the image like this now on. And I could say, Yeah, I'm happy with that. I want to keep this or I want to say no. I'd rather do something else with it and not put it back into the water. And then I have to play around with it again. So it's like an ongoing process. And you can you can really, like, experiment with on you can get very creative with it on, and yeah, I mean, there's there's really no world stood. You can also, you know, you can You can put this image on here. You can throw in another image. You can do all sorts of things with God as creative as you want. Andi. So I'm just gonna do the one thing that I wanted to do with this and then finish off this video. - Yeah . So, basically, this is what I wanted to do. And now the final step would be just, you know, you could just make sure the water kind of drips away, and then I would just leave it somewhere, maybe like on the heater are just, you know, you could just put it on the on a surface like a tower, so I just let it dry. And I think it'll take like, a day or two. I wouldn't put it into the sun or anything like that, because that might affect the actual photograph itself, so just leave it somewhere to dry on. Then what will happen is that the paper will probably be, quite frankly, because of the moisture Onda. What you can do, what What I always do is I'll just put like a stack of really heavy books just flat on it. Once it's dry on, that will kind of make it a straight it's possible on. Then you'll have, like, a cool image to work with and, you know, feel free to experiment around. Its is really something you can get very creative with. So yeah, that's about it. That's a Polaroid lift