post alternative techniques

[Barry Kirsten]

Here is the video I put together:

http://www.youtube.com/watch?v=EmpTgDlsr3o

Great video, Andrew. Thanks so much.

I've been doing a lot of reading about the process, but it's very helpful to be able to see it actually being done. I'll definitely get into carbon printing as soon as my work commitments abate.

Thanks gain.

Barry.

[Andrew O'Neill]

I don't really know how I could make a video without telling the whole story. Why hide it? Why keep it a guarded secret? No one owns the process, right? I taught myself carbon printing through Sandy's article and from his book. I've dedicated myself to this process for the past two years, but can't wait to take Sandy's workshop this summer up here. I don't think anyone should worry about people not wanting to take a workshop. No matter what, nothing beats hands on with an experienced person and being around like-minded individuals. One last thing. Some people for whatever reason be it geography, or money, cannot make it to workshops... so hopefully this video will help in such cases.

Cheers!

[mdm]

Finishing up at 1am and then waking at 4am to work is no fun. I had a wad of Yupo that size which I got from a paper specialist, the only place I could find it, so made a surface to fit. I plonk it on tressles in the bathroom/laundry when I am pouring.

Its no good for experimenting with pigments though.

[Vaughn]

Finishing up at 1am and then waking at 4am to work is no fun....

Its no good for experimenting with pigments though.

I usually work from 9pm to 7am, walk into town for breakfast and then walk back and start work (I pour at the university darkroom where I work). It is getting harder to do this as I get older! It really should not take me that long, except by 3 or so in the morning my efficiency drops at least 50%!

Andrew -- I think your video will only increase interest in and the desire for carbon workshops! Nothing I teach in the carbon workshops is "new". I even try hard to impress upon the students that my way may not be the best way for their way of working, for what they want their prints to look like, and for their own workspaces.

Vaughn

[Andrew O'Neill]

impress upon the students that my way may not be the best way for their way of working, for what they want their prints to look like, and for their own workspaces.

That is so true.

[Philippe Grunchec]

Mark: Origami or The Flying Dutchman

[Andrew O'Neill]

Mark, that image has such a beautiful feel to it. Collodian?

[Mark Sawyer]

Mark: Origami or The Flying Dutchman

...or maybe the Folding Dutchman?

Mark, that image has such a beautiful feel to it. Collodian?

Thank you, Andrew! Yes, collodion on aluminum. I need to get back on film soon, but the darkroom is set up for wet plate...

[sanking]

The difficulty is living far from where workshops are available which is also an opportunity to develop your printing as you see fit. It is not hard to make a print but to consistently make good ones takes practice. You dont get much practice at a workshop. Also teaching someone from Australia to print in the USA is not teaching him to print in Australia. None of the materiels are the same. No Black Cat ink, different gelatine, humidity, water etc.

Lets see, fly to San Francisco AUD 2000, cheap arse accomodation and travel both sides of a workshop AUD 2000, flights and travel to and from Formulary, Montana USD 700, Workshop USD 1000+ including accomodation and some food. Lots more costs all over the place. And 2 weeks away from work. Its not worth it for me because I dont have 2 weeks to be away (I have managed 1 weekend away in three years and that was last weekend, I cant shut the doors and walk away from my job). To make it pay you need to spend a month or more on holiday and see some of the country. All for a workshop, the primay benefit of which is really only seeing good prints, at least one hopes. It makes more sense to do a carbon tour and look at prints all over the place, including historic prints and portraits which you will not see at any workshop except possibly the George Eastman House one. That way you will understand what you can do and come away with a lifetime worth of creative ideas.

I did not add up all those costs but there is no question but that is a lot of money to spend for a workshop, even if one has the time. And the outlay would place tremendous pressure on both the workshop participant and instructor to " succeed" when in fact much of the learning experience depends on some failures.

Buy my primary thought is that if you are going to spend that kind of money on any kind of process workshop you would be better off doing a one-on-one workshop with a photographer in his/her workspace. That way, everything is built around your needs, interest and time.

Looking at good prints is absolutely vital to the learning process, and not just carbon prints but all kind of process prints, and work that covers several different art styles. This can help you refine your vision, not only about the process, but also how different processes enhance certain kinds of images. But as a workshop participant I would expect that the primary benefit would not be to just look at good prints, but also to learn how to use the process to enhance one's personal vision. That is what I try to teach.

Sandy

[mdm]

There is more to life than workshops. It would be nice to meet all the people but I can go to amazing places with my camera for a tiny fraction of the price. I want to see more of Fiordland and also to make a 'Garapata Beach' style picture on a beach nearby, just waiting for the right weather. I am contemplating a winter visit to The Garden of Eden. I see that when I go somewhere new making pictures is as simple as picking fruit, why bother with the already well previsualised USA. The spoon feed is not for me, but I am loving all the sharing, thanks.