With so much emphasis on electronic/computer art today, you might be surprised to discover there's a simple technique you can use to turn the lowly Polaroid snapshot into a stunning, translucent image that you can transfer to almost any surface - and it's as easy as boiling water. The process is known as the Positive Lift Print (or Emulsion Lift).

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(Left) Fink Plamingos - Positive lift print on canvas (669)
(Right) Someflower - Positive lift print on Ultragloss stock (669)
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INGREDIENTS
THE PROCESS
THE TECHNIQUE
TRANSFER
ADDITIONAL ENHANCEMENT
ADVANCED PRINT/TECHNIQUES

INGREDIENTS

Of course, you will need a Polaroid print to start with. Many folks have quite a few scattered throughout their homes in shoeboxes, drawers and photo albums. Since this is a 'one way' process, I suggest that you consider practicing first on one or two snapshots that you're not too attached to. If you don't have any Polaroid snaps but are interested enough, you can search Ebay for a starter camera - just keep in mind that only certain Polaroid films lend themselves to this process: Film types 669, 55, 59, 809, 559, 88, 87(black and white), and 690 (the 690 series of film produces vivid colors and tight focus, but is extremly fragile and might best be considered after you've perfected your lifting technique). Additionally, you can use 689 (the Pro Vivid series). The emulsion of 689 film is very rigid and durable, even when it's wet. The disadvantage to this film is that you cannot easily deform or stretch the emulsion. See ADVANCED PRINT/TECHNIQUES for information about how to transfer your existing images from slides onto Polaroid film.

Additionally, you will need the following:

2 water trays - Standard photo developing trays work fine, however baking dishes (such as those made from Pyrex) work equally as well, and being clear will afford you the ability to see exactly what you're doing. For larger transfer materials (see TRANSER), you might also consider 4 and 6 quart bowls.

Vinyl contact paper - An adhesive backed vinyl contact paper applied to the back of the snapshot will prevent the paper substrate from dissolving into a mess.

Clear acetate/mylar - This will help you transfer the emulsion onto the final surface.

(OPTIONAL) Kitchen thermometer  - This will help ensure that the water is not so hot that it 'melts' the emulsion; necessary if you're using the more fragile 690 series of film.

OPTIONAL) Rubber gloves - If you're sensitive to hot water, these will allow you to work the emulsion off of the backing.

OPTIONAL) Brayer roller- A small rubber roller to help flatten and smooth out your final transfer, although you might find that working/smoothing the emulsion with your fingers will produce the same results.

Transfer materials - The emulsion can be transferred to almost any surface; cloth, rocks, candles, watercolor papers, wood, metal and foiled papers, just to name a few.

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Portraits are a popular subject for positive lift prints.
(Left) Porky Laverne - Positive lift print on coquille board (669)
(Right) Tracy - Positive lift print transferred to the page of an old ledger (87)
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THE PROCESS

Fill the first of your two trays with hot tap water (150 to 160 degrees), and the second with room temperature water (70 to 80 degrees). If you're unsure about the temperature, using a kitchen thermometer can be helpful.

Next apply the vinyl contact paper to the back of your snapshot and trim the photo to your liking. The white border which edges the image will transfer as a light, pink/violet, so you might consider trimming this off if you don't want it. You can also cut the photo into whatever shape you like (a star, a heart, etc.), or trim out any unwanted background areas.

Now you need to soak the Polaroid photo, face up, in the first tray (hot water) for approximately 3 to 5 minutes. Note that different types of film will require adjusting your soak time (older film and the black-and-white films usually require longer soaking times). When the emulsion (printed image) begins to form small blisters or bubbles across its surface, move the photo to the room-temperature tray. If you are planning on transfering the image to a large object (candle, rock, etc), you should consider using a large bowl in place of a tray at this step.

THE TECHNIQUE

At this point, the emulsion becomes workable. Using your fingers, gently 'push' at the edges of the emulsion (not necessarily the edges of the image), working towards the center. As the water moves between the paper and the emulsion, you will find that the image lifts off the backing. When you have separated the emulsion, remove the backing paper from the water and dispose of it.

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Examples of images transferred from slide film to 690 (see ADVANCED PRINT/TECHNIQUES)
(Left) Patsy - Positive lift print of my mother transferred to a page from her art journal (690)
(Right) Marla - Positive lift print of my sister on Arches watercolor stock (690)
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TRANSFER

If you plan on using a 'non-wettable' surface for your transfer (delicate papers or silk), use your fingers to gently turn the emulsion over in the tray (face down). Slide a sheet of mylar or acetate beneath the image, and gently holding the edges of the emulsion down against the surface, slowly work this emulsion 'sandwich' up out of the water, dipping and lifting until the image lays flat against the acetate/mylar. You can work the wet image with your fingers to remove wrinkles or shape the edges if you need to. At this point you can place the acetate/mylar on your transfer surface (emulsion side DOWN), using your fingers or a brayer roller to 'press' the emulsion to the transfer surface. Starting at one corner, gently remove the acetate/mylar by slowly peeling it back from the emulsion. You may need to nudge at the emulsion to help the transfer; if so, moisten your fingers with water first.

If you are going to transfer the emulsion to a 'wettable' surface (i.e., wood, glass, stone or watercolor paper), slide your receptor surface into the tray underneath the thin layer of emulsion. Remember, the emulsion is somewhat fragile (like a sliver of Jell-O with an image in it), so work slowly and carefully. With your receptor surface below the image, gently lift the entire surface and emulsion up out of the water. You can dip and lift several times if you need to wash out wrinkles or reposition the image.

Once you have removed it from the bath, you still have the ability to manipulate it while it's wet. If you like, you can add a bit of interest to the image by introducing artistic flaws, such as wrinkles or small tears at this point. Once you are satisfied, you can optionally roll the image with a brayer roller to further smooth and flatten it out. You might experiment with the edges of the print by 'deckling', or ragging, with a toothpick, toothbrush, kitchen fork or other instrument. You can also use an Exacto knife to trim the edges into a straight line or perhaps a wavy border.

At this point, the image needs to dry for at least 12 - 16 hours. For images transferred to watercolor paper or other flat surfaces, you might also consider 'pressing' the surface (under a large stack of books or newspapers) overnight to remove any waving or distortion in the surface itself.

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Approaching White Sands - Positive lift print transferred to stone (689 Pro vivid)
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ADDITIONAL ENHANCEMENTS

Once dried, you have the option of further enhancing the image by using watercolor inks, colored pencils, art markers, pastels, Marshell's oils or even Easter egg dyes. Keep in mind that the emulsion is semi-translucent, and therefor the color of the receptor surface will also have effect on the final image. As a final step, you might want to protect your image with a UV inhibitor- to prevent deterioration and fading of color.

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An example of additional techniques (Marshall's oils and design markers) on B/W print
Self Portrait - Positive lift print on coquille board (87)
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ADVANCED PRINT/TECHNIQUES

If you would like to create a positive print lift from your slides, you should think about purchasing a Daylab. The Daylab doesn't require a darkroom, and it will allow you to easily transfer your slide images to Polaroid film while providing you with the ability to control exposure and color cast. You can also experiment with double or triple exposures to create a wide range of effects, from eerie to artistic.

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The Daylab series of printers doesn't require any special setup
or even a darkroom. It's available in several models (Daylab,
Daylab Jr., Daylab II) and can be found on Ebay with prices
ranging from $25 and up. An affordable solution for
imaging slides to polaroid films for positive lift prints.
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When dealing with the positive lift print, the possibilities are almost endless. From fine art to greeting cards or commemorative candles, you can easily create stunning and unique works of art without having to draw a single line. Who knows, you might even find a reason to finally use all those great little frames that we all seem to have collecting dust in our closets and drawers. Just remember, the beauty of art is in the exquisite imperfection, so have fun with it!