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+ Intervenció
+ Film Soup
+ Chromoskedasic Painting

Ella Morton – Haluro de Clara – Lexy Liangzi Xiao - Jevgenija Frolova

A tenir en compte: 

+ El idioma del títol indica l'idioma del taller. 

+ Per prendre tallers calser participant del festival, registra't aquí.  

T5. Introduction to Mordançage: Silver Gelatin Prints
Ella Morton

This workshop will introduce participants to the fundamentals of mordançage. Mordançage is an obscure darkroom technique developed in the 1970’s by French photographer Jean-Pierre Sudre which evolved from the 19th century process of bleach-etching. Working with our pre-made silver gelatin prints, we will learn how to add veils and textures to each print with mordançage chemistry. We will discuss the components of the chemistry, the steps of bleaching and redeveloping, and emulsion manipulation techniques. Participants will have time to explore the nuances of this haunting process and will leave the workshop with at least three fully-realized mordançage prints.



• History of mordançage, print and negative presentation, shooting and printing recommendations.

• Chemical composition of mordançage solution, bleaching & redeveloping process, questions.

• Work: Participants will start working with the chemistry and have time to create

+ Participants must bring black and white silver gelatin prints that they would like to manipulate. Any paper type is fine, but don’t bring prints larger than 8x10 inches. It is ideal for prints to have large shadow areas of pure black. White borders around the printed image are preferable over full-bleed images. Bring as many prints as possible. Multiples of the same image are great. Prints should be developed with a non-hardening fixer if possible. If your prints don’t fit these specifications, bring them anyway and we’ll still try to work with them. Please don’t bring prints that are precious and irreplaceable, as they will be permanently altered! It is also important to bring a minimum KN95 mask (respirator is preferable) to protect from fumes. We will work outdoors so fumes are minimized.

T37. Mordançage in Colour: Altering 4x5 Negatives
Ella Morton

Participants will begin by learning how to shoot on a 4x5 field camera. After the camera demo, we will walk around Barcelona and each participant will shoot one sheet of colour film. 4x5 sheet film will provide a sufficient image area to successfully manipulate mordançage veils at the end of the workshop. Upon returning from shooting, I will outline the steps of C-41 colour negative film development and explain how the bleach bypass method will help to retain silver in the film, making it react with the mordançage chemistry. We will develop our film. After the final rinse, we will soak our film in the mordançage chemistry in trays and watch as the emulsion lifts, turning into bubbles and veils. We will experiment with carefully manipulating the veils. Once the film is rinsed and dried, the emulsion will stick back on to the celluloid and the negative can be scanned or printed.



• History of mordançage & colour film, 4x5 camera demo.

• Photo walk: Walk around the area near Pati Llimona, each participant shoots one sheet of film. (Participants can take breaks individually as needed.)

• Intro to C-41 Development: Explain steps and chemical reaction at each step and why we use the bleach bypass method. (All the film will be developed in two tanks).

• Chemical reactions will be re-explained as we go.

• Mordançage Experimentation: Soak film sheets in chemistry, experiment with veils.

+ Participants should bring a minimum KN95 mask (respirator preferable) to this workshop to protect from chemistry vapours. All other supplies will be provided. Each participant will have the opportunity to shoot and manipulate one 4x5 sheet of film. No experience is necessary.

T45. Mordançage on 16mm Film
Ella Morton


Using found 16mm footage, we will explore how mordançage translates onto the moving image. Participants will work with both black and white and colour footage to create a collaborative short film. We will learn the basics of treating celluloid film with mordançage chemistry, observe how the emulsion lift appears in moving image form and experiment further with coloured inks and other alterations. Techniques will be explained thoroughly so that participants will leave with the knowledge of how to create experimental films with mordançage from start to finish.



• History of mordançage and viewing of film clips for inspiration.

• How to view, cut and splice film. Then we will go outside for a demo on using mordançage chemistry, as well as adding effects through hand-colouring with inks.

• Participants select footage, treat it with mordançage and splice it together.

(Note: If a 16mm projector is available, we will leave time at the end of the workshop to watch everyone’s footage. If not, I will take the films with me to be scanned and send a digital copy to participants after the festival.)

+ Participants do not need to bring anything, but they can bring 16mm film footage if they have any (must be prepared to permanently alter it!). Super 8 and regular 8mm footage can be used as well, but will not be included in the final scan. No prior experience necessary, but knowledge of analogue filmmaking practices is helpful.

T1. Film Soup: Explorando Nuevos Mundos
Haluro de Clara

Una introducción al fascinante e impredecible mundo del Film Soup, donde exploraremos los maravillosos efectos de esta técnica sobre la película no revelada, especialmente utilizando películas 35mm, y la infinidad de posibilidades que nos ofrece. Un espacio donde nos desapegaremos de las expectativas, animándonos a jugar y sumergir películas en los ingredientes más impensados. En este taller aprenderás paso a paso todo sobre cómo seleccionar la película adecuada, ingredientes, temperaturas, tiempos de sumergido, errores comunes, y mucho más; un viaje de descubrimiento creativo donde nos abriremos y arriesgaremos a desafiar los límites de la fotografía analógica convencional para descubrir nuevas dimensiones visuales llenas de colores, formas y texturas únicos.



• Introducción –Propuesta de abordaje a la experimentación.

• Desarrollo - ¿Qué es el Film Soup? ¿qué pasa dentro del chasis? ¿Es posible hacer film Soup con película 120 u otros formatos?

• Posibilidades del procedimiento: sopas en frascos, en tanques de revelado, en cuarto oscuro o manga de carga.

• Punto de conexión, donde el film Soup se encuentra con la intervención de negativos ya revelados.

• Presentación de efectos de la misma sopa sobre diferentes stocks de películas (Kodak, Fuji, B&N, Película vencida o Cine).

• Proceso de intervención paso a paso: selección de película, temperaturas, tiempos de sumergido, ingredientes posibles y sus niveles de alteración sobre la película.

+ Los participantes deberán traer sí o sí al menos un carrete no expuesto y un carrete ya expuesto de COLOR C41 (no cine) - puede ser B&N pero la verdad que se aprecian más los efectos en el color. Además podrán traer, si les apetece, algún ingrediente que se les ocurra que quieran usar para el soup.

T16. Experimental Alchemy: Film Soups and Other Interventions
Haluro de Clara

In this advanced workshop, we will become alchemists and researchers to experiment by blending techniques such as Film Soup and the destruction of photographic support. An intensive space dedicated to breaking conventional boundaries of analog photography, finding expressive possibilities to venture into our own subtle world of discovery, connection, and creation. A sort of do-it-all-yourself with the purpose of returning to the artisanal materiality of creating images with our own hands. In this workshop, you will learn step by step how to perform a film soup, develop color film, interventions during development, intervention techniques on negatives (distressing, collage, chemigrams), and how to implement them all together.



• Physical and chemical alterations to the film/negative. Interventions on different supports and types of film.

• Film Soup: What is it? Film reactions, procedure, soups in jars, in developing tanks, in darkroom or loading sleeves.

• Recipes. Drying. Developing. Connection point, where Film Soup meets the intervention of already developed negatives.

• 'Distressing': subjecting negatives to continuous processes from their original design. Exposure and possible Film Swap of a film already intervened with Film Soup.

• Manual C41 film development process for intervened film.

• Possible interventions before fixing in the development process.

• Possibilities for intervention on negatives and/or printed photographs.

• Support destruction: burning and boiling.

• 'Collage': painting, cutting, drawing, writing.

• 'Chemigrams': chemical interventions.

• Safety measures.

• Digitization of interventions.

• Step-by-step development of an intervened film.

• Step-by-step intervention process: support selection (negatives or paper), practical procedure of each intervention technique.

• Recommendations. Conclusion - Sharing of ideas and conclusions.

• Viewing of completed interventions.

+ Participants must bring their cameras in case they wish to do a film swap, at least one unexposed COLOR C-41 film roll and one already exposed (if it's not C41, we won't be able to develop it), and their negatives for intervention, which can also be paper copies if they prefer.

T53. Photo Transfer on Different Supports
Carola Etche

In this workshop, we will explore image transfer techniques on different supports. It will be divided into two parts, in the first part we will project a PDF document where we will see the evolution and history of the image transfer technique. We will analyze examples, from Chinese lacquer and poor Italian lacquer to French decoupage. Then we will dive into the transfer of photographs, from its first manifestations to contemporary innovations. We will explore how artists, like Robert Rauschenberg, experimented with various solvents to achieve the transfer. In addition, we will see how the introduction and use of inkjet and laser printers expanded the creative possibilities of this technique. In the second part of the workshop, we will learn how to prepare our supports to transfer, we will put into practice what we going to see in the theory about texture and color.


• Introduction to the History of Art going through Chinese lacquer, poor Italian lacquer, French decoupage, until reaching the transfer.

• Evolution of the technique.

• How to select surfaces and how to prepare them to transfer images.

• Light parameters to take into account in the image.

• How to perform color tests.

• How to prepare an image in Photoshop for later printing.

• Differences between Laser and inkjet printing and what benefits and possibilities of each.

• The different ways of working on each support and their complexities: tile, porcelain, cobblestone, rubble, fabrics, metals, mirror, glass, wood etc.

• Finishing of the piece with glossy or matte effect.

• References that work this technique on different surfaces.

• Mode of Conservation of the works.

• Demonstrations by the Artist on how to apply what has been learned.

• Practice on different materials by the students.

+ Participants could bring 4 images printed in Laser printing (A4 printer's paper). In any case, there will be printed photographs in the workshop and they will be able to experiment with other images.

T54. Foto Transferencia en Diferentes Soportes
Carola Etche

En este taller se explorarán técnicas de transferencia de imágenes sobre distintos soportes. Se dividirá en dos partes, la primera parte proyectaremos un documento PDF donde veremos la evolución y la historia de la técnica de transferencias de imágenes. Se analizarán ejemplos, desde el Lacado chino y el lacado pobre italiano hasta el decoupage francés. Luego nos sumergiremos en la transferencia de fotografías, desde sus primeras manifestaciones hasta las innovaciones contemporáneas. Exploraremos cómo artistas, como Robert Rauschenberg, experimentaron con diversos solventes para lograr la transferencia. Además, veremos cómo la introducción y el uso de impresoras inkjet y láser amplió las posibilidades creativas en esta técnica. En la segunda parte del taller aprenderemos como preparar nuestros soportes para transferir, pondremos en práctica lo que veremos en la teoría sobre textura y color.



• Introducción sobre la Historia del Arte pasando por el lacado chino, lacado pobre italiano, decoupage francés, hasta llegar a la transferencia.

• Evolución de la técnica.

• Cómo seleccionar las superficies y cómo prepararlas para transferir las imágenes.

• Parámetros lumínicos a tener en cuenta en la imagen.

• Cómo realizar pruebas de color.

• Cómo preparar en Photoshop una imagen para luego imprimirla.

• Diferencias entre impresión Láser e inkjet y que beneficios y posibilidades de cada una.

• Las distintas formas de trabajar en cada soporte y sus complejidades: azulejo, porcelanato, adoquín, escombros, telas, metales, espejo, vidrio, madera etc.

• Terminación de la pieza con efecto brillo o mate.

• Referentes que trabajan esta técnica en distintas superficies.

• Modo de Conservación de las obras.

• Demostraciones a cargo de la Artista de cómo aplicar lo aprendido.

• Práctica en distintos materiales por los alumnxs.

+ Los participantes pueden traer 4 imágenes impresas en impresión Laser (papel normal A4). De todas maneras, en el taller habrá fotografías impresas y podrán experimentar con otras imágenes.

T33. Intervened Double Exposure
Jevgenija Frolova

The workshop offers a hands-on exploration of intervention in double exposure photography. Participants dive into shooting double or multiple exposures, using creative filters, and experimenting with effects like the "soupy" effect. They unleash their creativity by incorporating paints, pencils, and decorative elements into their compositions. Each participant captures their creations through photography, engaging in collaborative portrait sessions with fellow attendees. This immersive experience allows participants to embody both photographer and model, fostering a deeper understanding of the creative process and encouraging artistic exploration.



• Introduction and overview of the workshop.

• Explanation of the technique to be used.

• Technical information on how to shoot double or multiple exposures.

• Demonstration of using creative filters and the ND filter.

• Guidance on creating the "soupy" effect.

• Explore with paints, pencils, and other decorative elements to brainstorm ideas.

• Making of double exposure photography. (first and second layer).

+ Participants must bring a Camera and 35mm film (Color or bw) ISO200, lense filters if they have any (diffusion, fractal, prisms, macro, ND etc.), pen and paper to make notes and different things they want to use in the process: feathers, buttons, dry flowers, seashells, etc. (Optional)

T6. Chromoskedasic Painting and Silver Mirroring
Lexy Liangzi Xiao

This workshop explores two experimental photographic techniques: Chromoskedasic painting and Silver Mirroring. Lexy will share her experience and expertise on these unique techniques. The workshop includes a brief introduction to the history, background, and scientific principles behind Chromoskedasic painting and Silver Mirroring, followed by practical demonstrations. Participants will learn to apply chemical reagent on photographic paper to create abstract or pictorial images in the Chromoskedasic painting process, developed by chemist and artist Dominic Man-Kit Lam in the 1990s. They will also delve into the phenomenon of Silver Mirroring, where a thin layer of silver forms on the surface of silver-coated materials. After the demonstrations, participants will have the opportunity to creatively experiment with the techniques, creating their own prints and exploring combinations with darkroom prints and negatives.



• Small lecture about a little history, knowledge and science on Chromoskedasic painting and silver mirroring.

• Demonstrations on doing the processes.

• Participants familiarize and explore the process under guidance.

• Participants experiment with the technique freely and creatively.

+ Participants must bring their own B&W negatives if they would like to combine the process with enlarged images; if so, they have to know how to do B&W printing by enlarger and how to process the prints. Their own B&W RC or FB paper that they would like to test (RC is easier for the process), their own goggles for protection.

T47. Alternative Silver Mirroring Tonings
Lexy Liangzi Xiao

This workshop, we are going to explore the technique of Silver Mirroring. Participants will delve into the intricacies of this captivating photographic process, exploring both indirect and direct methods. Will provide to the participants valuable insights into the chemical aspects of the technique, stressing the importance of safety protocols during application. Demonstrations will illustrate direct silver mirroring toning in various lighting conditions, allowing attendees to grasp the nuances of the process. Participants will engage in hands-on practice, honing their skills and experimenting with additional prints. Throughout the workshop, will underscore the significance of understanding the chemical components involved, ensuring participants develop a comprehensive understanding of the Silver Mirroring. This immersive experience will empower attendees to explore the artistic possibilities of Silver Mirroring, elevating their skills and appreciation for this captivating photographic technique.



• Explain the silver mirroring effect and the differences between the indirect silver mirroring and direct silver mirroring, and show some example prints.

• Explain the chemicals we will apply and emphasize the safety when applying the chemicals.

• Demonstration on direct silver mirroring toning in the darkroom safe light and white light controllable environment.

• Participants familiarize and explore the process under guidance and could try to tone more prints.

• Remind the participants the differences between the indirect silver mirroring and direct silver mirroring.

• Explain the chemicals we will apply and emphasize the safety when applying the chemicals.

• Demonstration on indirect silver mirroring toning in the white light environment.

• Participants familiarize and explore the process with their prepared prints under the guidance and could try to tone more prints.

+ Participants should be familiar with the darkroom environment and equipments, e.g. knowing how to do B&W printing by enlarger and how to process the prints The participants must bring their own B&W negatives, their own B&W well fixed and rinsed prints that they would like to tone (RC print, high contrast, and more shadow areas is better), their own B&W RC or FB paper that they would like to test (RC is easier for the process) and their own goggles and masks for protection

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