FESTIVAL
 |  |  |
|---|---|---|
 |  |  |
 |
T07. CHEMIGRAMS:
Light, Chemistry, and the Hand
4 HORAS
with Bridget Conn
Invented by Pierre Cordier in 1956, he claims chemigrams to be "most likely, the ultimate adventure of gelatin silver bromide." Learn how to incorporate painting, drawing, and printmaking processes into traditional silver gelatin darkroom paper through the camera-less chemigram process. Instructor Bridget Conn will give an overview of how chemigrams work, demonstrate a variety of tools and methods to explore mark-making, and give guidance on how to achieve control over value, texture, and even color.
Workshop Outline
I) Overview and Examples
II) Chemicals Involved
III) Demonstrate Black Background Process (Drawing technique)
IV) Demonstrate White Background Process (Painting technique)
V) Demonstrate Color Process (Printmaking technique)
VI) Work Time (majority of workshop)
VII) Show and Tell (choose one favorite for discussion, if time allows)
VIII) How to finish prints / break down chemistry
Participants must bring:
- This workshop is much more fun when students bring their own silver gelatin paper because each brand and surface gives different results. Resin-coated paper is recommended over fiber paper. The paper can be old / exposed / fogged so it does not have to be purchased brand new. I will bring what I can but can’t guarantee enough for everyone.
- Some resists will be provided, but any resists a student may want to try, they should bring.
T54. CHEMIGRAMS:
Materiality and Meaning
8 HORAS
with Bridget Conn
This workshop is suited to those who have at some basic chemigram experience, or enough darkroom experience to quickly learn the technique. We will explore how chemigrams can be used to make conceptual artwork, and how they can be used as sculptural art. Examples of contemporary artists will be shown and discussed.
Resists as Concept and Three-Dimensionality. Students should bring a resist of their choice (or a variety of resists) that are meaningful to them personally, or meaningful to a message they want to convey in their artwork. We will technically troubleshoot how to make certain resists provide favorable visual results. We will also address how the chemigram/silver gelatin paper can be used as sculptural material. Students can bring materials such as tape, thread and needle, staplers, etc. The session will optionally end with a show-and-tell of 1-2 pieces created.
The Collaborative Prompt. Students will be paired or put into small groups to create chemigrams that respond to a conceptual prompt that is given at random. Everyone can use techniques from the prior session, and/or completely new processes, to create artworks that embody the concept they blindly select. The session will end with a discussion of each team’s piece and how its form relates to its concept.
Participants must bring:
- Hopefully participants have their own silver gelatin paper because this workshop is much more fun when students bring their own silver gelatin paper since each brand and surface gives different results. Resin-coated paper is recommended over fiber paper. The paper can be old / exposed / fogged so it does not have to be purchased brand new. Bring around 20-30 papers each participant.
- Bridget will provide some resists, but participants should bring their own resists that have conceptual ideas behind them.
- Students should consider how they may want to create three dimensional works – they could bring tape, glue, staplers, needle and thread... anything they can think of. These materials are not covered.
T15 and T33. The Shape of Water:
Capture it with Watergram!
4 HORAS C/U
with GuL Cevikoglu
Watergram is a photogram technique based on WATER and capturing its movement. A photographic image is made without a camera by placing a light-sensitive material in a water tray. By doing this, we can capture water movements exposed to light. The results are mesmerizing, kinetic, and whimsical water-dancing images. It is a fantastic technique to experiment with light, fluid movement, and design patterns. Easy? Not really: it requires a great deal of patience, practice, and combined with docility in working with the ultimate fluid element. The subject of the photographic image is WATER and ITS KINETIC. You will be surprised by the exquisite outcomes, and its simple darkroom set-up and chemistry will provide an addictive desire to continue with this technique.
1- First 30 minutes is the presentation-Introduction with the images of how to set up, Showing the end results.
2- Setup each Portable flash unit for the paired students
3- Create the Flash exposure area for each of the team’s section
4- Explaining the traditional process in the darkroom.
5- Demonstrating the process
6- Attendees will practice and follow up on each stage of the process.
7- At the end of the workshop, students will have their final prints
8- Half an hour before the closing and finalizing workshop, discuss what the next is…
Participants must bring:
-Participants will be provided with darkroom papers and a camera flash. However if a participant wish to bring their own BW RC Photo paper and a flash they would be eligible to do so.
- Smart phone is suggested during the workshop with having “Dev-it!” application. It’s a free app!
T67. Beginning to See the Light:
Introduction to Lasergrams
4 HORAS
with GuL Cevikoglu
Lasergram is a cameraless technique based on laser light. Reflecting through materials transforms the shapes of laser light, and We capture them on light-sensitive paper. What is great about this technique is the incredible variety of forms that go through the reflection and refraction of the laser beam. We will create complex interference patterns using devices that help you construct your drawings. We will be shooting with the low-powered laser pointer by reflecting them off of different types of transparent, simple house objects, plastic, glass, crystals, aluminum foil, and any shiny metal. Students could bring their props. The best way to enjoy making Lasergram is to improvise with the materials freely.
1- The workshop starts with a presentation showing stage setups, materials, and final images
2- The DIY setups for capturing laser reflections
3- Showing how to control and calibrate the laser light to brightness and test the exposure
4- Demonstrating how to use the laser pointer
5- Explaining the traditional printing process in the darkroom
6- Students will practice the technique
7- At the end of the workshop, students will have their final prints
8- The session will end with a discussion of their experiences and a brief conclusion of what they generated the ideas from this workshop.
T42 and T59. Digital Lumen Prints:
Making Analogue Prints using your Phone
4 HORAS C/U
with Andrey Piletsky
In this workshop, we’ll learn how to use a smartphone to produce a photographic print on silver gelatin photopaper. This technique will allow you to make an analog print from any digital photo. We will use the smartphone as a camera and as a printing apparatus by contacting it with the photopaper. I developed this technique on vacation, when all I brought with me was a pack of photo paper.
We’ll start with an explanation of the technique with its possibilities and limits. Then we will see the first print, demonstrated by me. After that, each will make her own first guided print. We’ll collectively examine the results and make a second print individually. After the second print, I’ll lead a discussion about lumen print permanence and suggest ways to work with impermanent images. We’ll have a go at fixing the prints with thiosulfate fixer and household salt. We will experiment and see what happens to them when left unfixed.
What you’ll need:
1. Any electronic device with a camera will work. It’s easiest to use your phone, but a laptop or even a smart TV works. The size of the screen determines the size of the print. Multiple devices can be experimented with.
2. It is better to choose 3-5 images that you want to print before the workshop begins. Have those images ready on your device. Color photos should be converted to B&W. Some prints tend to be slightly blurry, images with intricate details will generally not print well.
3. Any type of B&W photo paper. You might want to experiment with both RC and FB types of paper. We are going to expose the paper to room light so photo paper of any condition would work.
T35. Exploring the unique possibilities of Chemigrams in daylight
4 HORAS
with Andrey Piletsky
In this workshop, we will get a chance to create Chemigrams outside of the darkroom. The idea is to see what creative options present themselves when we work with black and white photopaper in room light. We can use screens, transparencies, markers, flowers, our bodies and ultimately whatever we want to create Chemigrams on 8x10’’ photo paper. The workflow is slow with a focus on watching the development of the Chemigram, seeing the effect of each material and gaining some control of a chaotic process. We can consider together what it means to take the darkroom practice outside the darkroom and how the working environment affects the results of the work. If you haven’t done this before - expect major surprises.
Workshop Outline:
1. Introduction presentation and review of available materials
2. Guided demonstration of different daylight printing techniques
Break + search for objects and materials
3. Group or individual work on prints. I will serve as a technical helper and organizer
The outcome would be 8x10’’ prints created using available materials. I would encourage participants to experiment with found materials, old “expired” or “exposed” photo paper, minimal use of photo chemicals and intuitive creation.
T65. The Resinotype:
A Versatile and Inexpensive, Water-Free, Direct-Positive Photographic Process With Sunlight, on Nearly Any Surface
4 HORAS
with John Beaver
What I call Resinotype is a direct-positive photographic process that, to my knowledge, has never before been described. It is capable of a wide tonal range, uses inexpensive materials, and it can be applied to nearly any stiff, smooth surface, including mat board, gesso board, heavy weight paper, metal, glass, and ceramic tile. It is an ultraviolet-sensitive process, with a sensitivity similar to cyanotype, and so it can be executed in ordinary room lighting. It is probably most effective as a black and white process, but multi-layer color printing is also possible. This new process will be described in my upcoming book, LoFi Photography: Art From Do-It-Yourself Chemistry and Physics, contracted to be published by RSC Publishing (London) in late 2022 or early 2023. This workshop would be the first public description of the process.
Pogram of the workshop:
On-screen presentation of an Introduction to resinotype. A quick demonstration of a resinotype photogram.
Participants separate into groups of two. Each group makes two resinotype photograms, one to keep and one
to share. By random draw, each of the shared resinotypes are completed by a different group, by adding another layer
or layers. All participants join together to critique the results, and for follow-up thoughts and questions.
Participants should bring small objects (especially flat objects) that can be useful for composing photograms. They can also make use of high-contrast positive or negative transparencies 12x17cm or smaller.
T26. Ephemeral-Process Photography:
a Safe, Inexpensive, and Versatile Way to Make Expressive Photographs
8 HORAS
with John Beaver
What I call ephemeral-process (EP) photography is a versatile set of accessible but expressive, nontoxic, and environmentally friendly photographic techniques that can be used to make in-camera negatives, photograms, ephemeral prints from negatives, or the re-imagining of existing prints.
Day 1: Introduction and EP Photograms and Prints
I describe the process and explain of how and why it works, and its relation to other alternative processes.
We work through the basics of mixing the accelerator solution and making EP photograms and EP negatives from prints, and making digital positives from the negatives, and both fixed and ephemeral prints from negatives. We work individually and in small groups, and then we all come together to share our experiences, critiques, thoughts, questions, and new ideas.
Day 2: EP in-camera photography
I describe EP in-camera photography, the basic principles and methods, and how to make or modify your own camera for this kind of photography.
Then we prepare and make our own in-camera photographs outdoors, with exposures of approximately 10 minutes each. We then wash and dry our negatives and scan them to make positive digital images. We all come together to share experiences, critiques, thoughts, and questions.
T12. Breaking Out! Caffenol
and Developing Outside of a Controlled Environment
4 HORAS
with Kelli M. Perletti
In this workshop, we will learn all about Caffenol-c developer, why it is worth exploring, and how to develop your film almost anywhere! We will then make the developer together and develop two rolls of film in non-traditional locations using change bags and lots of flexibility!
Participants must bring two or more undeveloped rolls of film (can be film soup, multiple exposure, etc., but should let me know so I can help them calculate development times appropriately).
T20. Ultimate Experimental Blender:
Caffenol-C, Tape Image Transfer, Alchemography, and Lumen Printing
8 HORAS
with Kelli M. Perletti
In this workshop, we will be mixing and exploring four techniques: Tape Image Transfers, Caffenol-C developer, lumen printing and alchemography. In session One, each participant will develop a roll of film using Caffenol-c (coffee and vitamin c) developer, and making tape image transfers, including a negative we will use in the following session. In session two, we will focus on exploring Lumen printing and alchemography by making a lumen print in artificial lighting, using a tape image transfer as a negative, and playing around with different chemicals to create vibrant and different coloured lumen prints.
No prior knowledge required (film development experience recommended). The participant will need to bring one roll of film ready to develop, digital or analogue negatives suitable for contact printing (5-10 recommended at dimensions of 4x6 or larger). The participant will need to send two digital negative files or photo files they would like turned into digital negatives via email a week prior to the workshop.