This past Saturday, March 26 we had the pleasure of hosting a Photogravure workshop taught by Tucson artist Karen Hymer! The weekend began with a lecture by Karen on Friday night – she talked about the history of photogravure and the evolution of her artwork as she continues to use the process.
Seven students joined us for the workshop and got hands-on experience making photopolymer plates from their images, then pulling prints from the plates. Karen taught the process using Solarplates, which are steel plates coated with a light-sensitive polymer emulsion. When exposed, the polymer hardens; the unexposed polymer washes away in water, leaving an “etched” plate ready for inking after the plate has dried in the sun. Ink is then applied to the plate and wiped from the highlight areas. Finally, paper is laid on top of the plate and both are run through an etching press.
We are forever grateful to our friends at Cattletrack Arts Compound and Santo Press for lending us their etching press – we could not have done this workshop without their help!
Karen demonstrates the “development” of the Solarplate in water
Exposed and developed plates harden in the sun
Karen demonstrates inking the plate
Participant Shari Trennert prepares to run her plate through the press
Shari has made a print from a “test strip” plate to check her exposure before committing to a full plate
Jean-Charles Chapuis, Cyd Peroni, Tom Moore, and Gina DeGideo hard at work inking their plates
Chris Palmer and Karen compare a test print with another print of the same image to check for contrast and density
Gina uses a cotton swab to fine-tune her ink application
Cyd lays a sheet of fine-art water color paper over her inked plate before running it through the press
Participants enjoy letting their creativity run free and working in a community environment
Participants let their finished prints dry before taking them home
Big thanks to everyone that joined us for the opening reception and InFocus pre-reception of William W. Fuller’s The City! The exhibition will be on view through February 27, and you can stop in to purchase your copy of The City any day Tuesday – Saturday, 10am-6pm.
This past Saturday, January 9, we hosted a Walk and Talk with Jonah Calinawan, Karen Hymer, Amy Rockett-Todd, and Rebecca Sexton Larson, all featured in (re)View: Explorations in Human Nature. We were so pleased that the artists could travel to Gilbert from around the country to celebrate the exhibition with us!
Amy Rockett-Todd gets personal while talking about her albumen plates
Rebecca Sexton-Larson discusses her work and the bromoil process she uses
Karen Hymer explains that her photogravures draw on the idea that beauty is not only for the young
Jonah Calinawan discusses his fantasy-inspired cyanotype self-portraits
A closing reception for both (re)View and Next Level followed the Walk and Talk. It was great to see the artists among their exhibited work and meet so many of their friends and family! Thank you to everyone that came out!
A couple of weeks ago, Art Intersection hosted a Wet Plate Collodion Tintype Workshop and Open Studio! Students were led by David Emitt Adams and assisted by Claire A. Warden, both experts in this captivating 19th century process. Wet plate collodion was among the first widely-used photographic processes, used predominantly during the Civil War era. The nature of the process requires that collodion be hand-poured on a blackened metal plate, sensitized with silver nitrate, and exposed, then back into developing and fixing baths before the coating dries – hence the process’s name. During the workshop, students got individualized help with their coating, exposure, and processing. The following day, artists attended the open studio for a chance to try the process on their own; David and Claire were on hand to help as needed.
For a proper exposure, wet plate collodion requires either very bright light or a long exposure. David has rigged a special chair designed to help portrait sitters keep very still during the exposure time of 6-8 seconds, much like the chairs and props 19th century photographers used.
The following weekend, David and Claire returned to take wet plate collodion studio portraits! Couples, families, and individuals made appointments to have their picture taken, 19th-century-style.
This past Saturday, October 31 we were honored to have California artist Ryuijie teach the art of platinum/palladium printing to 11 members of the Art Intersection community. This 19th century process has long been revered for its tonal depth and archival qualities. Ryuijie demonstrated two different printing styles – the ABC and Na2 methods, both of which he uses in his artistic practice. Participants mixed their chemistry, hand-coated fine art paper, let it dry, and exposed their paper using a digital negative and UV light. It was inspiring to see the workshop participants quickly pick up a new technique which might have a lasting place in their artistic skill set! With a little experimenting and practice, the students used this luminous process to make some beautiful work.
Mario Sanchez holds up his freshly hand-coated paper
Jeff Welker coats his paper
Participants process their prints in developing and clearing baths
BK Skaggs assesses the exposure of his print
Finished platinum/palladium prints drying
Participants discuss their results at the end of the day
Last night, three ImageWorks photographers and about thirty guests joined us in the Photo Arts Lab to hear about their prints and the experiences of making these prints. All of the presented prints were originally captured on film using large format cameras.
Juan, Chris, and Brian of ImageWorks answered questions and explained their process of seeing, capturing, and then printing their beautiful images.
This is the first of a series of print sharing evenings. Join us in November for the next installment of Print Sharing at Art Intersection.
This past weekend of September 12 and 13 Art Intersection was bursting with color! Tri-color gum bichromate, that is. We had the great pleasure of hosting a two-day, immersive workshop in the process taught by Diana Bloomfield, a master gum printer especially known for her tri-color technique. Ten participants learned about this fascinating 19th-century process that includes mixing together gum arabic, potassium dichromate, and watercolor pigments, then hand-coating that mixture on paper, exposing their paper under a digital negative in UV light, and washing out the print in water to “develop” it.
Diana Bloomfield explains her technique for mixing the gum emulsion on Day 1.
Workshop participants look on as Diana coats a sheet of paper with the light-sensitive gum mixture she’s made.
Any color watercolor pigment can be used, but this tri-color process involves making three separate coating and exposure runs with cyan, magenta, and yellow pigments individually to get a full-color final print.
Armed with coffee, the participants listen as Diana explains the basics of color balancing for a natural-looking print at the start of Day 2. If a print does not initially look correct, more passes with various colors can be made to balance it.
In order for the image to remain sharp, the negative being used must be placed in exactly the same spot for every layer. Michael Puff carefully registers his negative to exactly match the previous layers he’s created.
Chris Palmer rinses out his print after exposing it to UV light. During the exposure, the areas of the gum emulsion blocked by the dark areas of the negative wash away in the water, creating highlights. Those underneath the light areas of the negative solidify and adhere to the paper, creating shadows.
BK Skaggs, Shari Trennert, and Maylee Noah rinse their prints while others hang to dry. These prints show the first pass with the cyan layer.
At the end of the workshop, all the participants show the results of their hard work by putting their favorite prints up on the critique board. Diana gives the class constructive feedback on their printing.
Finished prints by Maylee Noah showing one-color, two-color, and tri-color prints.
What a great summer for photography! In June and July high school students escaped the heat and came to Art Intersection to learn the basics of photography, expand their skills, and build portfolios. Each week teens from all over the valley worked with Art Intersection staff and volunteers to create finished works of art.
During the Exploring Photography camp, teens were introduced to the foundational elements of photography. Students experienced a hands-on approach to learning several different methods of image capture and printing using both digital and analog photographic practices.
The Advanced Photography students explored a wide variety of specialized techniques such as large format photography, gelatin silver print toning, stop-motion animation, and lumen printing. By the end of the week these teens were armed with an arsenal of new media to expand their photographic repertoire.
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On Sunday, April 26, the Arizona Railway Museum open the gates for pinhole photographers to make images for worldwide pinhole day. About 10 photographers took advantage of the cool weather and access to many of the train cars on exhibit at the museum.
Images were captured on a variety of media, from 35mm to 4×5 to 5×7 film, digital, and paper negatives. Another great Arizona day to make unique pinhole images. Be sure to visit the Worldwide Pinhole Photography website and the Art Intersection Gallery for more information and to visit their galleries of images.
Taken with a Deardorff 4×5 View camera and a .3mm pinhole at the Arizona Railway Park in Chandler, Arizona.” “This is the first of 12 photos taken by a 60 year old Deardorff once owned by Cole Weston. A .3mm pinhole was fitted to a standard lensboard and a simple hinged shutter installed on the front.” Copyright 2015 Robert Rice All rights reserved.
“Image was captured at the Arizona Railway Museum”. “I used 5×7 pinhole @ F-325 for 2.5 minutes to capture this image.” Copyright 2015 C. Burns All rights reserved.
“The engine that could.” “Taken with pinhole on lens cap with digital camera of steam locomotive.” Copyright 2015 Bob Estrin All rights reserved.
Bob Estrin shooting his pinhole DSLR
Christopher Burns with the happiest pinhole camera we’ve ever seen!
Deardorff 4×5 pinhole camera, with homemade shutter, once owned by Cole Weston, now owned by Bob Rice.
Shari Trennert was shooting paper negatives with her beautiful homemade ceramic pinhole camera!
Brett and Christopher with their pinhole cameras.
Images by Gina DeGideo unless otherwise noted.
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