bob carnie
12-Mar-2013, 12:21
Elevator is hosting a series of workshops this May in conjunction with Toronto's Contact Photo Festival.
The workshop leaders are all well know members of this community and really excellent teachers in their respective workflows.
I hope some of you find this of interest and join us.
DEFEND THE DARKROOM WORKSHOPS
1. DIGITAL NEGATIVE TO PICTORICO NEG
Palladium Printing from Digital Negatives made with QTR
Ron Reeder, Instructor
Course Description
We will learn to work with the QuadTone RIP, a third party printer driver that affords complete control over the inks of an Epson ink jet printer. With QTR we will learn to make digital negatives that are precisely tailored for contact printing on a palladium emulsion. Such negatives make prints that equal or surpass anything made from analog, wet darkroom negatives. While calibrating the negatives we will also be learning how to make an optimal palladium print, with clean highlights and a full tonal range extending to a deep black. We will be printing in palladium because it is actually one of the easiest and most reproducible of the "alternative" photo printing processes to learn.
The first part of the workshop will be lecture and demonstration. However, there will also be time for students to make negatives and prints from their own image files.
Students should have a working knowledge of Photoshop (or else the learning curve will be very steep!). All work will be done on Mac computers and Epson printers. Students should bring some image files to work on. Ideally they should be grayscale in 16bit depth. But in fact, we can work from any digital file. If students have a laptop running Photoshop, they should bring it as well as a memory stick to transfer files from one computer to another.
Dates, Fees and Location
This is a two day intensive workshop and will be held at Elevator's main location - # 5 - 105 Vanderhoof Avenue. This workshop will be booked on a first-come, first-served basis. If this workshop fills, Ron has agreed to consider a second round if numbers warrant.
Fees will be $350 per participant with a $50 lab fee. This gives each student enough pictorico and palladium solution to make test prints under Ron's guidance. A $200 deposit will be required to reserve your spot. There is a cutoff date for cancellation and the full balance will be required by March 31 2013 to confirm your spot. The workshop will run on Friday, April 26 and Saturday, April 27. The second workshop (if numbers warrant) will be Sunday, April 28 and Monday, April 29.
2. MONOCHROME CARBON TRANSFER
Carbon Printing with Digital Negatives
Sandy King, Instructor
Course Description
Carbon is one of the oldest of all photographic processes, having been introduced more or less in its present form in 1864 by the Englishman Joseph W. Swan. Carbon is a contact printing process that gives a final image that consists of a pigment suspended in hardened gelatin. Carbon is without question the premier photographic printmaking process in all of history. Carbon prints have a unique image quality characterized by surface relief and a very long tonal scale with an almost absolutely straight-line curve. Prints can be made in a wide range of colors and tones, the choice limited only by the availability of suitable tissue, and when suitable pigments are used the prints are extremely stable. Our approach in the workshop is hybrid, combining the best of the old, the carbon process, with contemporary methods of image controls through Photoshop and the production of high quality digital negatives with Epson photo printers.
In the carbon transfer workshop in Toronto the students will learn everything necessary to make their own carbon prints. There will be discussions of all the materials, equipment and supplies needed for printing with carbon, including information about light sources. The participants will learn to make carbon tissue, starting from the raw materials of gelatin, sugar and pigments, and will use this homemade tissue in printing. All of the various steps in making a carbon print will be explored in depth, including sensitizing carbon tissue to make it sensitive to UV light, preparation of final support papers, mating the sensitized and exposed tissue with a final support, and development of the carbon print in warm water.
There will also be a very thorough session devoted to using Epson printers and the QTR driver to produce high quality digital negatives that can be used for carbon printing, or with appropriate curve modifications, with other alternative processes.
For more information about Sandy King and his work see www.sandykingphotography.com
Dates, Fees and Location
This is a three day workshop and will be held at Elevator's main location - # 5 - 105 Vanderhoof Avenue.
Fees will be $600 per participant with a $50 lab fee which will cover materials to make prints and negatives for this course. A $300 deposit will be required to reserve your spot. There is a cutoff date for cancellation and the full balance will be required by March 31 2013 to confirm your spot. The workshop will run on Friday May 3, Saturday May 4 and Sunday May 5.
3. SILVER PRINTING
Steve Sherman, Instructor
Course Description
A working knowledge of Silver Printing should be a prerequisite as I plan on covering a number of little known printing techniques through a half day's demonstration. These techniques will be applied to Multi-Contrast silver materials which are currently available. My style and goals in teaching are to share the hows and whys certain controls work rather than just demonstrating. This approach leads directly into the students having a hands on experience while I and my assistant will problem solve the remaining two days. Archival printing and toning methods will be demonstrated during all phases of the wet process. Split contrast printing, print flashing, bleaching, and toning are just a few of the techniques I will explain and demonstrate.
I plan on showing some of my own finished work and encourage all to bring work of their own, preferably problem negatives that can be used for teaching and corrective discussions.
Steve is from the Rocky Hill Connecticut USA. He is a master printer of Silver Gelatin Prints. His work is collected internationally and is in the permanent collection of the University of Louisville Photo Archives as well as this year's SNAP live auction.
One of Sherman's images and personal endorsement was used by the Agfa-Geavert Company to promote their printing papers in an early 90's ad campaign. For years the Robert Klein Gallery in Boston, MA represented his work where he received numerous positive critiques from art critics. One reviewer described his work as "absolutely breathtaking with clarity and depth indescribable." Currently Sherman's work is represented by the Paul Paletti Gallery in Louisvile, Kentucky, USA.
For more than 30 years Sherman has been printing silver gelatin in the wet darkroom using the finest single graded papers employing a host of techniques to manipulate the image to his liking. The past 10 years Sherman has used Multi-Contrast papers and finds those same techniques allow for greater darkroom manipulation and creative control over the graded papers of years gone by.
Dates, Fees, Location
Fees will be $400 plus $50 lab fee, which will cover chemistry and some paper. A deposit of $200 will be required to reserve your spot. There is a cutoff date for cancellation and the full balance will be required by April 10th, 2013 to confirm your spot.
This will be a two and half day workshop where the first after noon will be at the main darkroom at Elevator's main location (# 5 - 105 Vanderhoof Avenue) where Steve will go over the in's and outs of making a fine art enlargement on silver gelatin paper. The next two days will be again at Elevatord main location where each participant will have an enlarger to work with and, under Steve's guidance, will craft prints using your own negatives.
Friday, May 24 - 1pm - 5pm
- Nothing required to bring other than enthusiasm to watch a master carve out an image on Ilford Warmtone
Saturday, May 25 - 9am -5pm
- You will be assigned an enlarger with appropriate lens and negative stage, bring your negatives. And Portfolio for review with Steve
Sunday, May 26 - 9am - 3pm sharp
- same details as Saturday
Considerations and Expectations for all three couses
- Attendees will want to become familiar with the different process they are considering .
- These courses are aimed at those who have some understanding printing in a wet darkroom
- Clothes should be old and an apron is recommended.
- Lunch will be available for purchase by order.
- Beverages will be available for purchase.
- There will be an assistant to help you during the day while the instructor is busy with others if you are getting stuck.
- We ask that Mobile devices are turned off while the instructors are teaching and we expect everyone to be on time and ready to learn and work with others.
- Each participate will have equal access to equipment. Thse courses are not about volume printing.
The workshop leaders are all well know members of this community and really excellent teachers in their respective workflows.
I hope some of you find this of interest and join us.
DEFEND THE DARKROOM WORKSHOPS
1. DIGITAL NEGATIVE TO PICTORICO NEG
Palladium Printing from Digital Negatives made with QTR
Ron Reeder, Instructor
Course Description
We will learn to work with the QuadTone RIP, a third party printer driver that affords complete control over the inks of an Epson ink jet printer. With QTR we will learn to make digital negatives that are precisely tailored for contact printing on a palladium emulsion. Such negatives make prints that equal or surpass anything made from analog, wet darkroom negatives. While calibrating the negatives we will also be learning how to make an optimal palladium print, with clean highlights and a full tonal range extending to a deep black. We will be printing in palladium because it is actually one of the easiest and most reproducible of the "alternative" photo printing processes to learn.
The first part of the workshop will be lecture and demonstration. However, there will also be time for students to make negatives and prints from their own image files.
Students should have a working knowledge of Photoshop (or else the learning curve will be very steep!). All work will be done on Mac computers and Epson printers. Students should bring some image files to work on. Ideally they should be grayscale in 16bit depth. But in fact, we can work from any digital file. If students have a laptop running Photoshop, they should bring it as well as a memory stick to transfer files from one computer to another.
Dates, Fees and Location
This is a two day intensive workshop and will be held at Elevator's main location - # 5 - 105 Vanderhoof Avenue. This workshop will be booked on a first-come, first-served basis. If this workshop fills, Ron has agreed to consider a second round if numbers warrant.
Fees will be $350 per participant with a $50 lab fee. This gives each student enough pictorico and palladium solution to make test prints under Ron's guidance. A $200 deposit will be required to reserve your spot. There is a cutoff date for cancellation and the full balance will be required by March 31 2013 to confirm your spot. The workshop will run on Friday, April 26 and Saturday, April 27. The second workshop (if numbers warrant) will be Sunday, April 28 and Monday, April 29.
2. MONOCHROME CARBON TRANSFER
Carbon Printing with Digital Negatives
Sandy King, Instructor
Course Description
Carbon is one of the oldest of all photographic processes, having been introduced more or less in its present form in 1864 by the Englishman Joseph W. Swan. Carbon is a contact printing process that gives a final image that consists of a pigment suspended in hardened gelatin. Carbon is without question the premier photographic printmaking process in all of history. Carbon prints have a unique image quality characterized by surface relief and a very long tonal scale with an almost absolutely straight-line curve. Prints can be made in a wide range of colors and tones, the choice limited only by the availability of suitable tissue, and when suitable pigments are used the prints are extremely stable. Our approach in the workshop is hybrid, combining the best of the old, the carbon process, with contemporary methods of image controls through Photoshop and the production of high quality digital negatives with Epson photo printers.
In the carbon transfer workshop in Toronto the students will learn everything necessary to make their own carbon prints. There will be discussions of all the materials, equipment and supplies needed for printing with carbon, including information about light sources. The participants will learn to make carbon tissue, starting from the raw materials of gelatin, sugar and pigments, and will use this homemade tissue in printing. All of the various steps in making a carbon print will be explored in depth, including sensitizing carbon tissue to make it sensitive to UV light, preparation of final support papers, mating the sensitized and exposed tissue with a final support, and development of the carbon print in warm water.
There will also be a very thorough session devoted to using Epson printers and the QTR driver to produce high quality digital negatives that can be used for carbon printing, or with appropriate curve modifications, with other alternative processes.
For more information about Sandy King and his work see www.sandykingphotography.com
Dates, Fees and Location
This is a three day workshop and will be held at Elevator's main location - # 5 - 105 Vanderhoof Avenue.
Fees will be $600 per participant with a $50 lab fee which will cover materials to make prints and negatives for this course. A $300 deposit will be required to reserve your spot. There is a cutoff date for cancellation and the full balance will be required by March 31 2013 to confirm your spot. The workshop will run on Friday May 3, Saturday May 4 and Sunday May 5.
3. SILVER PRINTING
Steve Sherman, Instructor
Course Description
A working knowledge of Silver Printing should be a prerequisite as I plan on covering a number of little known printing techniques through a half day's demonstration. These techniques will be applied to Multi-Contrast silver materials which are currently available. My style and goals in teaching are to share the hows and whys certain controls work rather than just demonstrating. This approach leads directly into the students having a hands on experience while I and my assistant will problem solve the remaining two days. Archival printing and toning methods will be demonstrated during all phases of the wet process. Split contrast printing, print flashing, bleaching, and toning are just a few of the techniques I will explain and demonstrate.
I plan on showing some of my own finished work and encourage all to bring work of their own, preferably problem negatives that can be used for teaching and corrective discussions.
Steve is from the Rocky Hill Connecticut USA. He is a master printer of Silver Gelatin Prints. His work is collected internationally and is in the permanent collection of the University of Louisville Photo Archives as well as this year's SNAP live auction.
One of Sherman's images and personal endorsement was used by the Agfa-Geavert Company to promote their printing papers in an early 90's ad campaign. For years the Robert Klein Gallery in Boston, MA represented his work where he received numerous positive critiques from art critics. One reviewer described his work as "absolutely breathtaking with clarity and depth indescribable." Currently Sherman's work is represented by the Paul Paletti Gallery in Louisvile, Kentucky, USA.
For more than 30 years Sherman has been printing silver gelatin in the wet darkroom using the finest single graded papers employing a host of techniques to manipulate the image to his liking. The past 10 years Sherman has used Multi-Contrast papers and finds those same techniques allow for greater darkroom manipulation and creative control over the graded papers of years gone by.
Dates, Fees, Location
Fees will be $400 plus $50 lab fee, which will cover chemistry and some paper. A deposit of $200 will be required to reserve your spot. There is a cutoff date for cancellation and the full balance will be required by April 10th, 2013 to confirm your spot.
This will be a two and half day workshop where the first after noon will be at the main darkroom at Elevator's main location (# 5 - 105 Vanderhoof Avenue) where Steve will go over the in's and outs of making a fine art enlargement on silver gelatin paper. The next two days will be again at Elevatord main location where each participant will have an enlarger to work with and, under Steve's guidance, will craft prints using your own negatives.
Friday, May 24 - 1pm - 5pm
- Nothing required to bring other than enthusiasm to watch a master carve out an image on Ilford Warmtone
Saturday, May 25 - 9am -5pm
- You will be assigned an enlarger with appropriate lens and negative stage, bring your negatives. And Portfolio for review with Steve
Sunday, May 26 - 9am - 3pm sharp
- same details as Saturday
Considerations and Expectations for all three couses
- Attendees will want to become familiar with the different process they are considering .
- These courses are aimed at those who have some understanding printing in a wet darkroom
- Clothes should be old and an apron is recommended.
- Lunch will be available for purchase by order.
- Beverages will be available for purchase.
- There will be an assistant to help you during the day while the instructor is busy with others if you are getting stuck.
- We ask that Mobile devices are turned off while the instructors are teaching and we expect everyone to be on time and ready to learn and work with others.
- Each participate will have equal access to equipment. Thse courses are not about volume printing.