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Even though this sounds pretty straightforward, there are always challenges with these formulations. The Duochrome formulations are still somewhat experimental. There is a tendency for the colorants to interact with the normal paste. In the final image there can be a formation of a lot of tiny spots which we refer to as mottle. To reduce that effect we need to add surfactants, but the use of that also has some side effects. It’s as fun as it is experimental as it is challenging!
Light painting does actually work well with this film and I was pleased with the results when working with the Polaroid App! I used a small light and exposed it at various points on a model for 15-20 seconds.
Double exposures are kind of tricky on this film and for me it worked best with no flash, and with both images having many points of contrast, ranging from dark & underexposed to normal lighting scenarios.
This film did not do well for me personally in bright, hot, outdoor light and environment. Even regular images without flash & with auto-exposure come out with the sunspot mottling, and are often overexposed in their final development phase. Again, the best results were done at night or in-studio with more controlled lighting and temperatures.
The more shadow there is the better. The picture will look more striking the more there is a difference between the light and shadow.
I found that no matter the shooting conditions, the color is very consistent, but perhaps avoid very strong lights if details are what you’re looking for… Otherwise go for it if you’re looking for very strong/sharp lines and shadows.
I found that results were more interesting with the subject quite close (maybe a bit over arm’s length), against solid, strong backgrounds that don’t detract from the foreground.
In my opinion, the ideal buildings for this photography are the sharpest and most angular ones. They create more multifaceted shadows.Alternatively, low buildings placed in open spaces are also powerful, as they cast very large shadows on the ground, which are captured well with this film.
The shadows must be very contrasted. I recommend underexposing the photo to have darker shadows that enhance the lines of the architecture, though be careful, as you don’t want to lose too much detail in the highlights. (You’ll have to dial back the exposure manually on your Polaroid camera.)
This film develops faster and is sensitive to light. To get a brighter green, shoot with early morning light. However, I prefer that denser green, so I shot in the early afternoon (and again, underexposed in both cases).