Albumen with Morgan Post

(Two Days)

The albumen print, also called albumen silver print, was invented in 1850 by Louis Désiré Blanquart-Evrard, and was the first commercially exploitable method of producing a photographic print on a paper base from a negative.

Image ©  Morgan Post

Albumen with MORGAN POST

In 1850, Frenchman, Louis-Desiré Blanquart-Evrard (1802-1872), invented the albumen print. This process involved immersing a sheet of paper in an egg and salt wash, brushing the paper with silver nitrate for light sensitivity, and exposing the coated paper to sunlight for minutes or even hours.

The paper was then toned to produce a developed image with a warm brown cast and yellow and cream highlights. The warm brownish hue, a result of the egg emulsion, is a distinguishing earmark of an albumen print.In this workshop, students will learn the Albumen process using these same techniques.

Students will learn how to mix chemistry for Albumen, coat paper, sensitize paper, and how to tone prints.  The class will have the advantage of using UV lights for faster exposures as well as digital negatives for contact printing, which students should bring.


CALOTYPE WITH DAN ESTABROOK

 (Two Days)

Calotype Or Talbotype Is An Early Photographic Process Introduced In 1841 By William Henry Fox Talbot,[1] Using Paper[2] Coated With Silver Iodide. The Term Calotype Comes From The Greekκαλός (Kalos), "Beautiful", And Τύπος (Tupos), "Impression".

Image © Dan Estabrook

Calotype with DAN ESTABROOK

For almost twenty years Dan Estabrook has been making contemporary art using a variety of 19th-century photographic techniques. His work has focused on the earliest processes on paper – calotype negatives and salted paper prints – as sources for hand manipulation with paint and pencil. Calotype was the premier negative-positive system and one of the first photographic processes to emerge in the nineteenth century. In 1840, William Henry Fox Talbot introduced the calotype process – capturing light images on a sensitized paper – to the public. Prints from calotype negatives possess a picturesque quality that resembles the chiaroscuro effect of classical paintings and was most widely used in France and England. Students will learn the traditional process for making calotypes and will discuss various French formulae, as well as practical considerations like paper choice, coating techniques, waxing for transparency and printing.

BROMOIL WITH JOY GOLDKIND

(Two Days)

The Bromoil Process Was Based On The Oil Print, Whose Origins Date From The Mid-Nineteenth Century. A Drawback Of Oil Prints Was That The Gelatin Used Was Too Slow To Permit An Enlarger To Be Used, So That Negatives Had To Be The Same Dimensions As The Positives. After G.E.H. Rawlins Published A 1904 Article On The Oil Print Process, E.J. Wall In 1907 Described Theoretically How It Should Be Possible To Use A Smaller Negative In An Enlarger To Produce A Silver Bromide Positive, Which Should Then Be Bleached And Hardened, To Be Inked Afterwards As In The Oil Process. C Welborne Piper Then Executed This Theory In Practice, And So The Bromoil Process Was Born.

Image © Joy Goldkind

Bromoil with JOY GOLDKIND

The versatile and painterly bromoil process is a printing method that combines the arts of photography, printmaking, and painting. In this workshop, students will learn the process from start to finish. 

The Bromoil process begins by bleaching a black and white silver gelatin print to remove the silver. Lithographic ink is then applied with a brush or roller to replace the silver in the print. Any color or combination of colors can be used. Each piece is individually inked by hand; therefore no two prints are identical. 

In the early 1900’s, bromoil was favored by pictorial photographers who used it to add ‘artistic rendering’ to their work. For Pictorialists, creating a unique print was held in high esteem, and with the bromoil process they were able to create prints with such an affected appearance, they were occasionally mistaken for paintings.   

Students should bring digital negatives for enlarging or large-format digital negatives to make contact prints (generally, as close to 8”x10” as possible). 
 


GUM BICHROMATE WITH BRENTON HAMILTON

(Two Days)

Gum Bichromate Is A 19th-Century Photographic Printing Process Based On The Light Sensitivity Of Dichromates. It Is Capable Of Rendering Painterly Images From Photographic Negatives. Gum Printing Is Traditionally A Multi-Layered Printing Process, But Satisfactory Results May Be Obtained From A Single Pass. Any Color Can Be Used For Gum Printing, So Natural-Color Photographs Are Also Possible By Using This Technique In Layers.

Image @ Brenton Hamilton

Gum Bichromate with BRENTON HAMILTON

This workshop is an introduction to the antique and flexible gum bichromate process. 

By making artists’ watercolors light sensitive and coating the emulsions on elegant paper, students will create images reminiscent of the Photo-Secession period - a once controversial viewpoint that the significance of a photograph was not what was in front of the camera but the manipulation of the image by the artist/photographer to achieve his or her subjective vision. During the early 19th century, when photography was considered to be a means to record reality and prominently used for clinical purposes, the pictorialist movement emerged. Through their movement, pictorialists aimed to elevate photography to fine art status. Pictorialists, such as Heinrich Kuhn, Alfred Stieglitz, and Edward Steichen, used processes like gum bichromate to create textured, artistic images that captured a mood, and advocated that photographers should guide their images much the same way that painters do. Large format or appropriate digital negatives are necessary for this course. All other materials will be provided.

CARBON PRINTING WITH LISA ELMALEH

(Two Days)

A Carbon Print Is A Photographic Print With An Image Consisting Of Pigmented Gelatin, Rather Than Of Silver Or Other Metallic Particles Suspended In A Uniform Layer Of Gelatin, As In Typical Black-And-White Prints, Or Of Chromogenic Dyes, As In Typical Photographic Color Prints.

Image © Robert Schaefer (Carbon Print)

Carbon Printing with LISA ELMALEH

This workshop is a thorough introduction to the delightfully versatile carbon printing process, developed in 1855.

Carbon prints are capable of a wide range of image characteristics. They can be virtually any color or tone, and the final image can be placed on a wide variety of surfaces, including glass, metal, paper, as well as various kinds of synthetic surfaces.

Students will learn how to make carbon tissues by hand from gelatin, glycerin, sugar, and watercolor pigment. The carbon tissue is sensitized and exposed under a U.V. light source, then transferred to a base. Unexposed areas are washed away in warm water leaving a raised exposed image, which is a highly unique quality of the carbon print. Students should bring large format or digital negatives for contact printing.


MERCURY DAGUERREOTYPES WITH N. W. GIBBONS

(Two Days)

The Daguerreotype (French: Daguerréotype) Process, Or Daguerreotypy, Was The First Publicly Announced Photographic Process, And For Nearly Twenty Years, It Was The One Most Commonly Used. It Was Invented By Louis-Jaques-Mandé Daguerre And Introduced Worldwide In 1839.

Image © N.W. Gibbons

Image © N.W. Gibbons

Daguerreotypes with N. W. GIBBONS

Since its invention in 1839 as the first photographic process, the Daguerreotype has been unrivaled in its beauty, image detail, and demanding technical challenges. This class will guide participants through the labyrinth of a very complex chemical craft to the Dag promised land: an exquisite image on mirror-polished silver.

Students will learn the preparation of copper sheet for plating, how to polish and buff plates for fuming, the use and care of fuming boxes, fuming plates by color and contrast control balance using “quick stuff”, exposure and development over a mercury pot, gilding images with gold for permanence, and packaging the completed Dag for display.

To get the most from the program, participants should be comfortable working with photographic chemistry and come with a basic knowledge of view camera operations. All equipment and materials will be supplied.


KALLITYPE WITH LISA ELMALEH

 (Two Days)

Kallitype Is A Process For Making Photographic Prints. Patented In 1889 By W. W. J. Nicol, The Kallitype Print Is An Iron-Silver Process. A Chemical Process Similar To The Van Dyke Brown Based On The Use Of A Combination Of Ferric And Silver Salts. While Van Dyke Brown Andargyrotype Use Ferric Ammonium Citrate, The Light-Sensitive Element Used For The Kallitype Is Ferric Oxalate. The Use Of Ferric Oxalate Allows For Both Extended Shadow Definition (Higher DMAX) And Contrast Control.

Image © Lisa Elmaleh

Kallitype with LISA ELMALEH

The Kallitype is a hand-coated contact printing process, considered the “poor man’s platinum print” of the late 1800’s, and is a great photographic process for those who want comparable tonal quality to platinum prints. Students will use a silver nitrate and ferric oxalate solution and learn the proper techniques to hand coat and print. This process allows for more freedom to experiment because the chemistry and metals used are more readily available and affordable. Students should bring large format or digital negatives to class for printing.