Tag Archives: black and white

Mordançage with Jace Becker

We got experimental in the lab this weekend during our Mordançage workshop with Jace Becker! This free-form, intuitive process process physically lifts the darkest parts of a silver gelatin emulsion, forming delicate veils. The veils can be manipulated or removed, allowing for endless creative opportunities. Our participants played around with a variety of techniques, achieving one-of-a-kind results with each print.

Jace demonstrated processing silver gelatin prints in mordançage solution, water rinsing baths, and developer. The mordançage chemistry bleaches the prints as it’s lifting the emulsion, requiring the print to be re-developed to bring back the image.

After the print has been washed, the lifted gelatin emulsion can be manipulated to add visual interest, motion, or abstract shapes to the image. We used cotton balls, hypodermic needles filled with water, compressed air, and hairdryers to place the veils exactly where we wanted them to go. 

This print is slowly being re-developed – the tan parts of the print were originally black!

Cesar Laure had some interesting results with this half-mordançaged photogram – the altered portion of the print is on the right.

Beautiful print by Susan Berger

Prints by Suzanne Fallender displaying a range of different colors achieved by placing developing prints out in the sunlight.

We can’t wait to see what our students make with this process!

Digital Infrared Workshop

One of the truly significant changes digital photography has brought us is the simplicity of shooting infrared (IR). Old School analog IR shooters had a series of steps that required best guesses to be made and correspondingly has a rather high hit or miss result. First of all, you had to be careful loading the camera since the film could fog in bright outdoor conditions. Then, focus and exposure issues had to be addressed.

The Infrared weekend kicked off on Friday evening with a free lecture by Neil Miller and Siegfried Rempel, shooting started at the Gilbert Riparian on Saturday morning, followed by process in the Digital Lab in the afternoon. Sunday we printed images and reviewed the work on the Crit Wall.

Siegfried printed an image from a digital negative on to hand coated  printing out paper, and demonstrated digital infrared capture, to digital negative, to an alternative photographic process. This could have also been printed using cyanotype, platinum, gum bichromate, etc.

Here is a link to the original workshop information.

Infrared L1057032-3 Neil Miller 

Infrared L1057025-2 Neil Miller

So what is the visual difference with infrared? The primary difference is that the camera is photographing in response to living plants in an area of the light spectrum the human eye cannot see. Plants will often reflect greater proportions of infra-red and appear to be lighter in value. The sky, devoid of reflected infra-red will appear a dark value similar to the effect of shooting black and white film through a dark red filter. Clouds tend to show greater modulation and gradation and often “pop” in the image.

The following infrared images are by Margaret Wright

Infrared Colorized wall Margaret Wright

Infrared Space Colony Margaret Wright

Infrared Ducks on a pond 2 Margaret Wright

The following infrared images are by Richard Fee

Infrared IR45-Richard Fee

Infrared IR 33-Richard Fee

Infrared IR27-Richard Fee

The following infrared images are by Neil Miller, and the featured image for this post is by Neil Miller

Infrared L1057008-Edit-1 Neil Miller

Infrared DSCF5824-Edit-1 Neil Miller

Infrared Final #1 DSCF5830-Edit-2-1 Neil Miller

Infrared Final #2 DSCF5836-Edit-1 Neil Miller

Infrared Final #3 L1057017-Edit-1 Neil Miller 

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