Chloride POP emulsions (collodion and gelatin)

Chloride POP emulsions (collodion and gelatin)

Many photographes feel really nostalgic about the chloride papers that were still manufactured in the late 1990’s. Despite their low speed that require contact printing, they offered unrivalled image quality. Quality so perfect that, even though they disappeared from the market back in 1990’s, we still keep getting asked about their availability. Others are equally nostalgic about the POP (print out papers) materials. And even though these papers stayed in manufacture for a long time, in the US until the early days of the 21st century, they too eventually disappeared from the market. Fortunately, at least the last type is probably the easiest photographic emulsion to make and even those of us who don’t have considerable experience and a professionally equipped lab can make them on their own. Though working in a home darkroom we might find competing with factory made materials difficult (if this is our aim of course), still the materials we make under such conditions will enable us to get magical results And even making photographic papers only marginally different than the factory made ones will prove possible with minimal experience. For everyone interested in this magical process we have prepared a workshop that will enable you to discover the secrets of preparing and using chloride POP emulsions both in their gelatin and collodion versions. The programme of the workshop includes: preparing a silver gelatine chloride POP emulsion learning the basics of emulsion making at the same time, preparing a collodio-chloride POP emulsion, learning different methods of coating emulsion on paper and similar substrata, learning to process POP papers including their toning, learning the most important...
Large format photography

Large format photography

Discover one of the most potent tools in photographic history; the view camera. Learn to use various types of view cameras as well as advanced methods of large format photography such as, for example, in camera perspective control. Discover the commercially available as well as self made materials, and their properties , take pictures both using negatives and inverse developing photographic paper to create unique, in camera, positive prints without the negative. Discover the secrets of a camera essential for historical photography passionates who want to shoot wetplate or glass plate negatives, of a camera, that is still used in some of the best commercial studios. For over a hundred years, the view camera has been the tool of leading photographers. It was the view camera that was used to make virtually all 19th century images as well as most of the 20th century masterpieces. Even today, in the age of digital photography, it offers unmatched image quality and is still used, albeit usually with a digital sensor, in leading advertising studios or in atteliers of outstanding photographers such as Paolo Rovesi. Even the American government, who have recently advertised a 100 000 USD a year job for a view camera photographer, is convinced of the advantages of analog large format photography. Curiously enough the format was recently espoused by the digital world where not only digital backs (that are not truly large format) are available but also cameras with a sensor that is truly 8×10 inches. Unfortunately, for many people large format photography, using a view camera, seems to be something difficult, incomprehensible, complicated, almost impossible to master,...
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 person 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 very different 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,...
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: 21-22 August 2021 Language: Polish and English Location: Tricity School of Photography, 100/6 Świętojańska St, Gdynia, Poland Price: 240 eu. maximum number of participants: 6 Link to buy: https://alternativephotographicsupplies.com/oilprinting-workshop Though we don’t offer accommodation, we will be pleased to offer advice on booking it. You might also enjoy a video about one of our...
Salt and albumen print

Salt and albumen print

The salt and albumen workshop is the only workshop of its kind offering an opportunity the learn to intricacies of two of the most important techniques in history of photography. The first print making technique ever was the saltprint, and the albumen print was the first 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. Both techniques may seem to be simple , 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 salt and albumen prints, but also the more advanced elements of both processes. We will learn a variety of recipies including arrowroot paper and mat albumen, to 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, prepare salted paper using different recipes and sizes, increase the image contrast, sensitize the albumenized paper and the salted paper, expose and process the  prints, prepare negatives for both processes (both large format and digital negatives), tone the  prints, prepare the images for presentation in a conservator friendly, archival way. We also provide an opportunity to print your own negatives (including printing negatives from your own digital files) and to prepare photos in our studio should you wish to do so. The following will be...
Carbon transfer

Carbon transfer

Carbon transfer is one of the most important (and beautiful) historical processes; along with gumprint and oilprint it is one of the essential techniques utilizing the light sensitivity of organic coloids sensitized with chromium salts. Carbon transfer combines power and subtlety and is equally suited to dramatic landscapes, medieval ruins an delicate female nudes. Still, it requires a spacious darkroom where materials can be prepared and prints made. Thanks to the courtesy of the Tricity School of Photography we will have such a workshop at our disposal. We begin work by preparing the necessary materials; carbon papers and transfer papers. This skill will give us increased control over the prints we make and will offer us full creative independence. Both Saturday and Sunday will be divided into two parts; outdoors work when all the participants will have an opportunity to take their own pictures which they will later print using carbon transfer and darkroom work when, using the previously prepared materials, you will have an opportunity to make your own carbon transfers with the assistance of an experienced instructor. All the participants will be provided with: dinners (Saturday and Sunday), all the facilities necessary for makin carbon transfer prints, materials necessary for making carbon transfer prints( including transfer and carbon papers) two PCs for editing digital files facilities to print large format negatives from digital files (5 pcs), facilities to scan film, materials and facilities to develop black and white negatives (for film users). Instructor: Radosław Brzozowski Language: English and Polish Maksimum number of participants: 10 Cost: 190 euro. For those participants who book at least thirty days in advance, we offer a reduced price...