Read about Art Intersection events, news, and special interest stories.

UA and UNL Students Come to AI for Wet Plate Workshop

This past weekend, photography graduate students from the University of Arizona and University of Nebraska-Lincoln made a special trip to Art Intersection to learn wet plate collodion techniques from our resident artist, David Emitt Adams.

Grants furnished by both universities funded the workshop to assist students in learning techniques that are not part of their normal curriculum.

The workshop was a success with several of the students going back to school with a solid foundation of the process so that they can continue to experiment with wet plate collodion at their respective campuses.

If you are interested in learning more about Art Intersection’s unique services of creating customized workshop experiences for your institution or workplace contact us at

UA and UNL Attend AI for Wet Plate Workshop

UA and UNL Attend AI for Wet Plate Workshop

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Printing out Paper Workshop

This past Saturday and Sunday were filled with mixing, coating, exposing, clearing, and toning.

Amazing results and sometimes surprises along the way of creating images with Colloide-Chloride Printing out Paper, PoP, in a workshop led by Siegfried Rempel. Once a popular commercial method to create images, today we hand coat paper to bring this process back to life and make beautiful, crisp, warm toned images.

We broke into a verse of Love Potion Number 9; “mix it up right here in sink, smells like turpentine, and looks like india ink.”

The use of Collodion in photography for the production of photographic prints an be found as early as the 1850s. The concept of an “emulsion” of silver salts in a collodion binder was introduced by Gaudin in 1853 and by 1861 he was actively producing the “Photogene” collodion emulsion. The collodio-chloride print-out-process represents one of the last PoP processes popular in North America and Europe with commercial photographers from the 1880s until WW II.

The Collodio-Chloride emulsion is coated on paper and the resulting image, contact printed under bright daylight, remains in the collodion layer. The process requires exposure under bright daylight and the image darkens or “prints out” during exposure.

Chris made a 4″ x 5″ glass plate negative using the PoP coating.

The over-exposed image is then processed to stabilize the image and provide the final print image, hence the term print-out-paper.

The collodion held together under processing to allow photo transfer.

A little dichromate for bleaching.

Final toning bath for a PoP image with a “platinum” look.

This workshop is another in the series of alternative process photography learn and create workshops at Art Intersection. In the past one-and-a-half years we have offered these alt-process workshops and demonstrations.

  • Cyanotype
  • VanDyke
  • Gum over Platinum
  • Albumen
  • Daguerreotype
  • Salt Prints

Stay tuned on our website and emails for more learn and create in the darkroom workshops.

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Printing out Paper Lecture with Siegfried Rempel

Last night, Friday March 8, Siegfried gave us a brilliant introduction to the history Printing out Paper and related historical photo printing processes. Following the lecture he coated a piece of baryta paper and in the UV light box, along with a negative, he created an image without any additional chemistry.

Stay tuned for images from the workshop this weekend.

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Photoflex Lighting Workshop

Yesterday the Photoflex Power of Light Lighting Workshop was a big hit. There was a full lighting studio setup in the basement of the Heritage Court Building where Art Intersection is located. Eight students were led by John Beckett of J2 Photography through the steps of properly lighting a model.

For everyone that missed Saturday’s workshop we will do this again in the near future. Thank you to Photoflex and John!

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Jace Graf Book and Clamshell Case Workshop

The Jace Graf book and box making workshop was a huge success with all 10 students going home with an elegant hand-bound book and drop-spine box.

In this 2-day workshop participants learned how to construct a multi-signature sewn-board binding originally designed by renowned bookbinder, Gary Frost. The accompanying box is a versatile and useful compartment that is designed to protect and house a variety of book structures, portfolios and/or prints.

The participants also learned several valuable “tricks of the trade” that Jace graciously offered throughout the weekend.

No doubt, we will be seeing some awesome new book related projects from our community using the techniques learned during this special workshop. We hope to have Jace back soon to teach us more exciting book and box making skills.

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Artist Talk – The Physical Photograph

Five artists showing in The Physical Photograph exhibition gave an informal talk in the Galleries here last night to a very receptive audience. This exhibition includes handmade books, chlorophyl prints, Daguerreotypes, wet plate collodion tin-types, and brass pinhole cameras.

Jace Graf led the evening with a discussion of book making and anecdotes from his career creating premier books at Cloverleaf Studio in Austin, Texas.

David Emitt Adams, the artist-in-residence at Art Intersection, explained his newest work of tin-types on 55-gallon drum lids. David has an upcoming show at the Santa Barbara Museum of Art in June.

Binh Danh, professor at the ASU Herberger Institute of Art and Design, teaches alternative photographic process and talked about some of his unique work. Three of his images in the exhibition are printed on living leaves using an ordinary photographic negative. The negative varies the amount of sunlight available for the leaf and the corresponding production of chlorophyl, which then creates shades of green and a positive image of the negative.

Nothing goes together quite like gelatin-silver paper and gunpowder, at least according to Christopher Colville as he described his new body of work, Meditations on the Northern Hemisphere.

Nissa Kubly’s work in the Galleries are her handmade pinhole cameras which incorporate viewable images made by the object itself. Her work consists of functional instruments made of metal and inspired by the camera obscura. She also brought with her a jewelry trunk show in the South Gallery with necklaces, earrings, and rings themed around pinhole cameras.

All-in-all it was a great evening of learning through interaction with the artists. If you did not make the event we hope you will join us for the next Artist Talk at Art Intersection!


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Canon DSLR Class

Get More From Your Canon DSLR

Yesterday Joshua Caldwell led a 6-hour class focused on learning about your Canon DSLR camera. The class included an interactive lecture on exposure control, lenses, and detailed technical information, followed by time shooting images in the Heritage District, and a wrap-up at the class end with a review of the images. It was a success for everyone in the class and we look forward to the next DSLR class.

January has been a busy month for digital photographers with classes in Photoshop Elements, Photoshop Fast Track, Photoshop CS, Digital Point-and-Shoot Camera, and the Canon DSLR. Stay in touch as we add more digital photography, digital printing, and studio lighting classes.

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Workshop Students Make Daguerreotypes


For two days Jerry Spagnoli (second from the right) led a workshop, teaching students to create their own Daguerreotype images using the Becquerel method in the darkrooms at Art Intersection. These are the new Daguerreians (less one who was camera shy).

Many of the plates were exposed in a large format camera and some were contact printed from a film positive.

A Daguerreotype is a photographic image, produced on a sheet of polished silver, unmatched for its detail and clarity, and for its unique presence.  The process has a rich historical legacy but has been largely lost to artists for over one hundred years.

The workshop participants learned all the steps necessary to make a Bequerrel Daguerreotype include polishing, sensitizing and finishing the plates, as well as how to make their own equipment to continue the process in their own darkrooms.

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