Silver gelatin dryplate

Silver gelatin dryplate

Silver gelatin dryplate, which was the real beginning of the silver based photography as we know it, is probably one of the most difficult challenges that a persion passionate about historical processes can face. In order to make our own glass plate negatives we have to overcome a large number of difficulties; starting with obtaining appropriate materials, through the making the emulsion itself to the final coating of the negative and processing the exposed plates so as to make the best use of their speed without damaging the delicate layer of gelatin emulsion. Despite all these difficulties, making your own negatives is the only way if we want to recreate the appearance of the photographs from the turn of the 19th and 20th centuries; pictures recorded on glass plates coated with a thick layer of emulsion, emulsion which disperses light totally differently than modern negatives. Such negatives lack a lot of advantages of the modern materials, are colour blind or orthochromatic. At the same time they imbue the image with a magical quality unavailable to modern products. During the intensive, four day workshop, participants will acquire all the skills necessary to make their own emulsions and glass plate negatives. They will: learn about available materials for home emulsion making, learn to use the emulsion making equipment, learn about the basic processes taking place during the emulsion making as well as the importance of each stage for the resulting product, make a colour blind negative emulsion using modern photographic gelatins. learn to adapt pre-war recipes for use with modern materials. learn to control the speed and fogging of resulting materials,...
Retro photography – silver techniques (albumen and saltprint)

Retro photography – silver techniques (albumen and saltprint)

Retro photography – silver techniques is a workshop introducing participants to the intricacies of two most important silver based alternative processes; the albumen print and the salt print. Those two techniques were used to make most prints created in the first decades of the development of photography, both share many features which makes introducing them in one workshop a natural solution. The participants of our two day course will acquire the skills and information needed to start independent work using both processes. During the workshop they will: learn the history of both techniques, understand the chemistry of the two processes, learn various methods to prepare salted paper, learn to prepare the albumen paper, learn to prepare both glossy and matte albumen paper, prepare themselves both albumen and salted paper which they will use to make their own prints, learn to prepare digital negatives for both processes, learn to prepare large format negatives for both processes, learn to process both albumen and salt prints, learn the basic tools for controlling contrast in both processes. The fee includes: all materials required to make saltprints, all materials required to make glossy and matte albumen prints, practice negatives, unlimited access to a fully equipped darkroom, a handout, UV light sources. Tutor: Radosław Brzozowski, the author of the first Polish textbook on albumen printing. Location: Tricity School of Photography, 34 Wierzbowa St., Gdynia, Poland Maximum number of participants: 6 Date: May 12-13, 2018 Nearest airport: Gdańsk, Lech Wałęsa Airport Price: 180 eu. For the participants who book their place before April 10th, 2018, we have prepared a reduced price of 160 eu. Though we...
Retrophotography – the iron techniques (cyanotype and Vandyke brownprint)

Retrophotography – the iron techniques (cyanotype and Vandyke brownprint)

Retro photography – the iron techniques is a workshop allowing participants to learn two of the most popular historical processes; cyanotype and Vandyke brownprint. Originally cyanotype was first of all a process used for copying, as a form of photocopier as well as for luxography. This was the technique used for the first albums of plants and flowers which were contact printed. Today things are different and thousand of people all over the world are discovering the beauty of this 19th century technique. Cyanotype is most commonly associated with the blue colour; not entirely rightly so; after all there are plenty of methods to change it, some of which we will learn during the workshop. Vandyke brownprint is, in its turn, a technique that never made a big career in the 19th century; chiefly because it was considered to lack permanence (at least by the standard of the day). Things look different in the 21st century; errors leading to lack of permanence have been eliminated and the technique itself enables the photographer to achieve outstanding results, not inferior to other techniques which were once more popular. The participants will learn : to make cyanotype prints, to make Vandyke brownprints, to make recipies for both processes, which papers are recommended for both processes, to sensitize papers for both techniques, to prepare large format negatives for both techniques, to prepare digital negatives for both processes, to process pictures in both processes, to tone cyanotype prints. The fee includes: watercolour paper appropriate for both Vandyke brownprint and cyanotype, ready made recipies for both processes, chemicals necessary to prepare both recipies practice negatives,...
Oilprinting workshop

Oilprinting workshop

Oilprint, along with its sister technique of bromoil are among the most beautiful manipulative processes associated with pictorial photography and the American photosecession. It is a painterly technique which, like few others,  allows for a huge level of image manipulation and thus self expression. It’s enough to say that this was the technique of choice of such masters as Gertrude Kasabier. During the two day workshop participants will acquire all the skills necessary to start independent work with this beautiful technique. We will: learn to prepare papers for oilprinting. This way we will once and for all free ourselves from the necessity to hunt down the papers suitable for bromoil printing.  learn to sensitize the papers and prepare a matrix for further oilprinting. finally we will learn the difficult art of inking the matrix so as to bring out and manipulate the image.   We will also learn what tools can be used to create oilprints and practice using them The following will be provided during the workshop: fully equipped darkroom for our practice, papers prepared for oilprinting, papers suitable for preparing oilprinting papers, printing inks, all tools necessary for creating oilprints UV light sources and other tools necessary for exposing images and creating oilprinting matrix. practice negatives tea and coffee during the whole workshop. Instructor: Radosław Brzozowski Dates: February 3-4, 2018 Language: Polish and English Location: Tricity School of Photography, Wierzbowa 34, Gdynia, Poland Price: 180 eu. The discount price for participants making their payment before Jan 1st, 2018 is 165 EU. maximum number of participants: 6 Though we don’t offer accommodation, we will be pleased to offer advice...
Albumen workshop

Albumen workshop

Albumen workshop is the only workshop of its kind offering an opportunity the learn to intricacies of of one of the most important techniques in history of photography. The first print making technique that made a real, industrial scale career dominating photography for dozens of years. Suffice it to say, that just one factory making albumenized paper used seventy thousand eggs per day. Albumen print may seem to be a simple technique, in reality, however, it requires considerable knowledge and care in order to get the best results, especially if we aim at full control over the contrast and colour of the print. We offer a two day practical workshop during which we will not only learn to make albumen prints, but also the more advanced elements of the process. We will learn to prepare a variety of albumen recipes, control the print contrast and use a variety of toners. During the workshop we will learn to: Prepare matt and glossy albumenized paper using a variety of recipes, increase the image contrast, sensitize the albumenized paper, expose and process the albumen prints, prepare negatives for albumen printing (both large format and digital negatives), tone the albumen prints, prepare the images for presentation in a conservator friendly way. We will also participate in two photographic shoots; one documentary in nature, the other one focusing on stylised retro photography done with the help of models and MUA. The following will be provided for all the participants: materials necessary for albumen printing including toners, papers appropriate for the technique, albumenized papers, all necessary tools, UV light sources, practice negatives, a fully equipped darkrom, two...
Talbotype – the saltprint

Talbotype – the saltprint

Talbotype – the saltprint is a workshop designed for everyone who not only wants to make prints using this technique, but also to learn to control the contrast and colour of the resulting prints. For the whole two days we will be learning the intricacies of the process so as to get the maximum amount of control over it. Saltprint is one of the oldest photographic techniques, a sister to calotype. Apparently simple, it nevertheless requires considerable knowledge if you want optimal results and control. It is often associated with brownish hues; not entirely correctly. Considered not to be permanent in its heyday and yet, if processed carefully it matches the permanence of most silver based processes.   During the workshop we will learn: to prepare salted paper using various recipes, to control the image contrast, to sensitize paper using glass rod and hake brush, to expose the print and process it in order to obtain the desired permanence and tonality, to make stabilized prints following the oldest method, to tone saltprints. The programme covers: a theoretical introduction, presentation of sample saltprints, preparation of salted paper using different recipes, practical exercises in sensitizing paper, preparing the negative (both a traditional large format negative and a digital one), practical work with practice negatives, practical exercises in controlling contrast, comparing the results obtained by using different recipes, practical toning of saltprints, opportunity to make own photographs using the school studio, opportunity to print digital negatives from participants’ own images (3pcs) matting and presenting the pictures. The price includes all the necessary materials and equipment, particularly: all chemicals required for the process, including...