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Call for Work – Light Sensitive

Submission Deadline Extended to January 23

Art Intersection presents Light Sensitive, our ninth-annual, international juried exhibition of images created using traditional darkroom and historical and alternative photographic processes and methods. In the current trend of imagery presented on computer screens and the overwhelming volume of digitally printed pictures, Light Sensitive reaffirms and promotes the art of handcrafted prints that uniquely belong to the tradition of light sensitive creative processes.

As our juror this year we are honored to have Christopher James, University Professor and Director of the MFA program in Photography and Integrated Media at Lesley University, Cambridge, Massachusetts.

Awards for Light Sensitive 

First place $350
Second palce $250
Third place $150
Three honorable mentions

Art Intersection will pay return postage for individuals receiving one of the above awards and honorable mentions.

Acceptable Processes

Process  include, but are not limited, to the following: silver gelatin prints, albumen, anthotype, argyrotype, athenatype, Bayard direct positive, calotype, carbon, casein, chrysotype, cyanotype, dusting-on process, gum bichromate, gumoil, Herschel’s breath printing, photopolymer gravure, Ivorytype, kallitype, mordançage, platinum/palladium, printing-out-paper, solarplate intaglio, van dyke brown, wet plate collodion, whey process, Ziatype, combinations of any of these processes, and all photographically based image-making techniques that incorporate traditional studio-based mediums such as printmaking, ceramics, or painting. 

Both 2-dimensional and 3-dimensional work may be submitted.

Conventional, unmodified digital inkjet prints are not acceptable for entry; however, the use of digital negatives, created for printing any of the above processes is acceptable.


Important 2019 Dates

  • January 23 – Submit online with JPEG files and paid fee by midnight MT (GMT-7)
  • January 30 – You will receive an email notification of selected Work
  • February 27 – Due Date for selected Work to be received and ready to install at Art Intersection
  • March 9 – Light Sensitive seven-week exhibition opens for viewing
  • March 16 Light Sensitive Reception from 5 – 7pm, please join us!
  • April 27 Light Sensitive closes at 6pm
  • April 25 – Local Work pick-up
  • May 2 – Return shipping of Work will begin
  • May 23 – Last Date to pick up or arrange shipment, after this date Work is considered abandoned

About the Juror

Christopher James is an internationally known artist and photographer whose photographs, paintings, and alternative process printmaking have been exhibited in galleries and museums in this country and abroad. His work has been published and shown extensively, including exhibitions in the Museum of Modern Art, Metropolitan Museum of Art, George Eastman House, Philadelphia Museum of Art and the Institute of Contemporary Art-Boston. Represented by the Lee Witkin Gallery in New York City for over two decades he has also shown at Pace-McGill (NYC), Contrasts Gallery (London), Michelle Chomette (Paris), Hartje Gallery (Berlin), and Photokina (Germany). He has published extensively including Aperture, Camera (Switzerland), American Photographer, Solstice (for short fiction), and Interview magazine and in books such as The Antiquarian Avant Garde, á Prova de Aguà: Waterproof, Human Documents, and Handcrafted: The Art and Practice of the Handmade Print (China).

All three editions of his book, The Book of Alternative Photographic Processes, have received international critical acclaim and are universally recognized by artists, curators, historians, and educators as the definitive text in the genre of alternative process photography and photographically integrated media. A significantly expanded 900 page / 700 image, 3rd edition was published in 2015.

Christopher, after 13 years at Harvard University, is presently University Professor and Director of the MFA in Photography and Integrated Media program at Lesley University College of Art and Design in Cambridge, MA. He received his undergraduate degree from Massachusetts College of Art and his masters from the Rhode Island School of Design. He is also a painter, graphic designer, author, and a professional scuba diver. Christopher offers individually customized alternative process workshops and portfolio consultations in his Dublin, NH studio. Christopher’s web site is www.christopherjames-studio.com

 


Step One: Submission Guidelines

 

Step Two: Exhibition Terms and Conditions

 

Step Three: Submission Form

 

Step Four: Pay in the Blue Box Above

 

You can view images from Light Sensitive 2018 by clicking here.

Printing Out Paper Workshop

Printing out Paper, or PoP, makes an image by exposing a negative and paper to light without any chemical development. With a printing-out process, you can watch your image come to life during your exposure, rather than having to wait until it is processed! Used originally as a simplified field process without the need of a darkroom, today we use this handmade emulsion to create artful images with subtle and warm tonality.

This workshop begins on Friday night with a lecture and demo, where instructor Siegfried Rempel will discuss the history of collodio-chloride printing and demonstrate two different printing-out methods. Following on Saturday is a day of coating and printing your own hand fabricated, collodio-chloride printing out paper.

The day after the workshop, return to the lab to further refine your mastery of this process! We are hosting a PoP Open Studio on Sunday, March 26 from 9am – 3pm. More information here.

About Collodio-Chloride
The use of Collodion in photography for the production of photographic prints an be found as early as the 1850s, and is most commonly used in the Wet Plate Collodion process to produce tintypes and ambrotypes. 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 has a similar physical appearance to its gelatin counterparts and it can be difficult to tell them apart. In fact, modern gelatin silver darkroom papers evolved from this early printing method! Today, we still practice the collodio-chloride process because of the rich and beautiful tonality it imparts on our images.

 

Refund Policy

 

Printing Out Paper Lecture

Printing out Paper expert Siegfried Rempel will give a lecture on this fascinating process on Friday, March 24. Join us for this special opportunity to learn more about this historic method – the lecture is free and open to the public. If you’re feeling inspired, join us for our Printing out Paper Workshop the following day! Learn more and register here.

About PoP
Printing out Paper, or PoP, makes an image by exposing a negative and paper to light without any chemical development. With a printing-out process, you can watch your image come to life during your exposure, rather than having to wait until it is processed! Used originally as a simplified field process without the need of a darkroom, today we use this handmade emulsion to create artful images with subtle and warm tonality.

The use of Collodion in photography for the production of photographic prints an be found as early as the 1850s, and is most commonly used in the Wet Plate Collodion process to produce tintypes and ambrotypes. 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 has a similar physical appearance to its gelatin counterparts and it can be difficult to tell them apart. In fact, modern gelatin silver darkroom papers evolved from this early printing method! Today, we still practice the collodio-chloride process because of the rich and beautiful tonality it imparts on our images.

Printing Out Paper Workshop March 1 & 2

Beautiful and creative images were made this weekend using hand coated printing out paper. Friday night Siegfried gave a lecture, followed by two days of making prints using Printing Out Paper.

POP 2Mar14-600px-0363

POP 2Mar14-600px-0358

POP 2Mar14-600px-0359

POP 2Mar14-600px-0360 

POP 2Mar14-600px-0370

POP 2Mar14-600px-0374

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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