|Preece, Chemical Nuptials (on Velox), 1987|
After my MFA was finished, I started working for an environmental consulting company doing photography for the White River Oil Shale Corp in eastern Utah in 1981. I had lots of time to play with chemistry between field excursions. I wanted something that I could selectively control to alter the image, create color, and which was archival. I found an old DuPont toning formula that called for thiourea and a strong base such as sodium carbonate and on b&w photo paper it could be toned in gold toner to achieve a range of colors. My only problem was the application of the chemicals. I experimented and finally came up with salt and pepper shakers as the tool to sprinkle thiourea and Red Devil lye into unfixed areas of the print.
|Preece, Contact Zone (on Velox), 1987|
My next problem was the expense of the amount of gold that is in one of the old gold toning formulas. I decided to try GP1 which is a gold protective solution without much gold in it. At first it didn't look like it would change the ugly olive drab and brown color of the thiourea stain but then as I left it in longer, even overnight, bright colors began to appear. I could also doctor it a bit with an eye dropper loaded with liquid gold chloride. This process produced a two-fold effect: 1) I was getting a nice cool/warm contrast between any printed image or one created by using a weak solution of Dektol and the warm colors of the thiourea stain. 2) The image, as far as I can tell, is very archival, having been soaked in gold chloride. By the way, the print should be fixed and washed to archival standards before gold treatment and well washed afterward. Outdated b&w photo paper makes great chemigrams this way when working without a printed image under room light. However, if an image is printed with an enlarger it should be painted with fixer before returning to room light.
|Preece, Chemical Incubator - Homage to Pierre Cordier, 2011|
|Preece, Chemical Dollops, 2011|