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The Yellow Door

Discussion in 'Exhibition Lounge' started by PeteE, Jan 30, 2018.

  1. PeteE

    PeteE Well-Known Member

    out on my morning walk -- it was sunny at last ! On the Ongar Road, Brentwood from across the road with Olympus SP-570UZ super-zoom camera.

    [​IMG]The Yellow Door by Peter Elgar, on Flickr
     
    Geren and steveandthedogs like this.
  2. RovingMike

    RovingMike Crucifixion's a doddle...

    Nice. Could even do some colour popping with it.
     
  3. Fishboy

    Fishboy Well-Known Member

    "What colour do you want me to paint the door, boss?"
    "I'd like you to paint it YELLOW!"
    "Yellow?"
    "No, YELLOW!"

    Cheers, Jeff
     
    Geren and EightBitTony like this.
  4. PeteE

    PeteE Well-Known Member

    I don't know how to do that 'Colour Popping'
     
  5. Fishboy

    Fishboy Well-Known Member

    Print it in back and white, dig out your Johnson Photo Tint Outfit ("for colouring postcards, prints and lantern slides") and apply several thin layers of yellow to the door until you achieve a pleasing result!

    Cheers, Jeff

    PS - there may also be an electronic way of doing it
     
  6. Craig20264

    Craig20264 Well-Known Member

    There ya go. :)

    jjjjjj.jpg
     
  7. PeteE

    PeteE Well-Known Member

    Great !! I DO Have still a Johnson's of Hendon Photo Colouring set ----
     
    steveandthedogs likes this.
  8. Terrywoodenpic

    Terrywoodenpic Well-Known Member

    The oils set? Or the dye set?
    Last set I had was in about 1949/50 I had both sorts. I last used them in about 1953.

    They worked best if you sephia toned the prints first.
     
  9. PeteE

    PeteE Well-Known Member

    The Dye Set -- last used also in about 1953 ! I have a few in my early photo album with my 'Beginner' prints .
     
    Terrywoodenpic likes this.
  10. Terrywoodenpic

    Terrywoodenpic Well-Known Member

    Me too, but only a few. I think the survivers are all transparent oils. Which I preferred as you could easily work them up or change them. The down side was that they took a long time to fully set
     
  11. Terrywoodenpic

    Terrywoodenpic Well-Known Member

    Later on in the late 50's I had a Kodak set of retouching dyes from the USA for retouching dye transfer prints and also transparencies.
    I also had a set of dye papers for retouching.They were dry and coated onto tissue, you picked the colour up on a damp brush.
     
  12. Fishboy

    Fishboy Well-Known Member

    On the subject of marvellous print-related pieces of kit I'm struggling to remember the correct name for something - perhaps somebody could help?

    What was the name of that piece of kit that was used to 'set' a gloss surface on a print?

    I had one that took 10x8 prints - it had a white coated metal (?) slightly curved top - you squirted some yakkum on the surface of your print and placed it face-down on the curved metal, then a canvas awning sort of affair swung over the top of the machine and clicked into place to hold the print firmly against the curved surface. You plugged the machine in and it heated up and 'sealed' the gloss surface of the print. I remember that trying to remove the print from the machine before it had properly set was a very bad idea.

    I've a suspicion that the one I had was either a Patersons or Johnsons machine.

    Any suggestions will be gratefully received!

    Cheers, Jeff
     
  13. Terrywoodenpic

    Terrywoodenpic Well-Known Member

    It was called a glazer or print dryer.
    The early ones were just a plate called a ferrotype plate.
    Glazing solution was made from oxgall. Obtained from slaughter houses.
    It reduces the surface tension of fats and grease that might be on the surface of the print and glazing plate giving a perfect finish.

    Professionals used rotary glazing machines with speed and heat controlls.and a continuous blanket.
     
    Fishboy likes this.
  14. Fishboy

    Fishboy Well-Known Member

    That's it - thank you! Yes, it was called a glazer - it seems obvious now that you've told me but you wouldn't believe how long I've been struggling to remember the name of it.

    Cheers, Jeff
     
    Terrywoodenpic likes this.
  15. SXH

    SXH Well-Known Member

    Wasn't the cheap option to squeegee the wet print to a (clean) pane of glass (aka window) and wait till it fell off, dry?
     
    Geren likes this.
  16. Fishboy

    Fishboy Well-Known Member

    That sounds positively barbaric! Why would I do such a thing when I had a perfectly serviceable hi-tech, electronic solution to hand?

    Cheers, Jeff
     
  17. Andrew Flannigan

    Andrew Flannigan Well-Known Member

    I had one of those for a while. It was a Kodak 24" which I bought from a studio in Plymouth that was closing down. It was enormous and weighed a ton. It was only later that I realised the £25 I paid for it was way too much. I should have charged them to take it away! :(
     
  18. SXH

    SXH Well-Known Member

    1. Not everyone has/had large amounts of money to lash out on every toy for their darkroom.
    2. It worked.
     
  19. Geren

    Geren Well-Known Member

    Or a downstairs loo mirror, in my case!

    We had a glazer at Clydebank college. I assume it's still there. Someone* didn't load their print correctly and attempted to remove it with a plastic fork from the canteen. Like I say, it's probably still there. Whether it still works...


    *Someone is not a euphemism for me. It was definitely someone else.
     
  20. Geren

    Geren Well-Known Member

    I am going to make it my mission to use this in conversation today.
     

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