Pictorial photography – oilprint

Pictorial photography – oilprint

If you have had enough of brief courses/workshops during which all participants diligently copy practice negatives prepared by their tutor and leave the workshop with identical pictures that are not really theirs, if you don’t want another nine to five course where the cleaning lady pointedly knocks on the door half an hour before it should end, then our workshop is just perfect for you. We would like to invite you to take part in a unique workshop devoted entirely to oilprinting, during which you will have an opportunity to shoot your own photos which you will print with the assistance of an experienced instructor as oilprints, thus learning the intricacies of oilprinting and making your own, unique photos. The oilprint, along with its sister process of bromoil is one of the three most important manipulative techniques, especially popular with pictorial photographers. It is a technique offering an unrivalled manual control over the appearance of the resulting print combined with perfect rendition of details. After the participants register in their hotel, we will start work on preparing materials; oilprinting papers which will later be used to make your prints. After all preparing materials is an essential skill in alternative photographic processes and it is nearly impossible to talk about artistic independence without it. There will also be time for a quick introduction to the process, as well as an explanation of how the image is formed. The remaining part of the workshop will be divided between field work when your photographs will be taken, and the time spent in the darkroom (of course under constant supervision of the instructor),...
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,...