Mid-ninteenth century tintype photography is experiencing a resurgence as photographers look for a unique aesthetic for portraiture and still life images.
David Emitt Adams led the weekend of tintype creativity starting with a free lecture on Friday evening, the all-day workshop on Saturday, and an open studio on Sunday.
Two stations with 4×5 cameras were setup, one for still life props and the other for portraits.
After the developer.
In the final wash before varnishing.
Warming up the plate before applying the varnish.
Exposures of 15 to 20 seconds require sitting very still – the head brace helps!
Pouring off the excess varnish of a portrait tintype.
Making sure everything is properly focused.
Here is a Graflex 4×5 with an aerial lens.
The next setup was a modified Holga and the tissue paper was used like a ground glass plate to check focus.
Final rinse at the end of the open studio day.
Have you ever wanted an enlarged negative for your alternative photographic process art? Does the process to create a digital negative adjustment curve sound too complicated? If you answered yes, then join us for a presentation on creating a digital negative curve. As my kids said when they needed help with their homework, just give me the answer without all the boring technical stuff.
This lecture illustrates creating a Photoshop curve to adjust a digital camera image to make a digital negative suitable for contact printing a gelatin silver (black and white) print. This same process can be followed for any alternative photographic processes that use a negative.
Art Intersection will create curves in advance of our alternative process workshops and make these available to the students. Now, before our workshops, you can use our digital lab to make digital negatives from your digital cameras (yes, even from your phone’s camera) or scanned films.