Tag Archives: printing

Call for Work – Light Sensitive 2016

Art Intersection presents Light Sensitive, an annual juried exhibition of images created using traditional and alternative photographic processes. Past work has included analog c-prints, platinum, cyanotype, gelatin silver, gum bichromate, wet plate collodion tintypes, chemigrams, and other printing processes. We are honored this year to have Susan Burnstine as the juror for Light Sensitive.

The Art Intersection curatorial staff will select three artists from Light Sensitive to show additional work during the (re)View exhibition in December 2016.

Click here: Light Sensitive 2016 to view the PDF document Light Sensitive 2016 Submission Guidelines

Important 2016 Dates

  • January 11: Application and JPEG submissions due
  • January 23: Notification of selected work
  • February 20: Selected work due at Art Intersection
  • March 5: Opening reception from 6 – 8pm
  • April 16: Exhibition closes at 6pm

About the Juror

Susan Burnstine is an award winning fine art and commercial photographer originally from Chicago now based in Los Angeles. Susan is represented in galleries across the world, widely published throughout the globe, teaches workshops internationally and has also written for several photography magazines, including a monthly column for Black and White Photography Magazine (UK).

You can read more about Susan on her website, SusanBurnstine.com.

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You can view images from Light Sensitive 2015 by clicking here.

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Call for Work – Light Sensitive 2016

Art Intersection presents Light Sensitive, an annual juried exhibition of images created using traditional and alternative photographic processes. Past work has included analog c-prints, platinum, cyanotype, gelatin silver, gum bichromate, wet plate collodion tintypes, chemigrams, and other printing processes. We are honored this year to have Susan Burnstine as the juror for Light Sensitive.

The Art Intersection curatorial staff will select three artists from Light Sensitive to show additional work during the (re)View exhibition in December 2016.

Click here: Light Sensitive 2016 to view the PDF document Light Sensitive 2016 Submission Guidelines

Important 2016 Dates

  • January 11: Application and JPEG submissions due
  • January 23: Notification of selected work
  • February 20: Selected work due at Art Intersection
  • March 5: Opening reception from 6 – 8pm
  • April 16: Exhibition closes at 6pm

About the Juror

Susan Burnstine is an award winning fine art and commercial photographer originally from Chicago now based in Los Angeles. Susan is represented in galleries across the world, widely published throughout the globe, teaches workshops internationally and has also written for several photography magazines, including a monthly column for Black and White Photography Magazine (UK).

You can read more about Susan on her website, SusanBurnstine.com.

LS 2015_21_Call for work promo_850px

You can view images from Light Sensitive 2015 by clicking here.

Oops! We could not locate your form.

Print Sharing with ImageWorks

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.

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Diana Bloomfield Teaches Tri-Color Gum Bichromate Workshop

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.

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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.

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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.

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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.

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Ambrotype Workshop with Claire Warden

Learn the basics of the wet plate collodion process using glass as the substrate, and create two direct positives images!

Students in this workshop, led by Claire Warden, will go through the process of cleaning glass plates, coating the plates with collodion, sensitizing, exposing, processing and varnishing the final image.

Images will be captured on 4″ x 5″ plates using a large format camera in the lab, and all materials are included to create two ambrotypes.

Recently, Claire spent a summer creating ambrotypes in Lehon, France, and she brings her wet glass plate collodion experience to this workshop.

The Friday preceding the workshop, Claire will give a free to the public lecture about ambrotypes and her experience in Lehon.

On Sunday, following the Saturday workshop, Claire will be on-hand in the lab to assist with the anyone wishing to make additional glass plate images.

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Screen Printing for Beginners with Jacob Meders

Learn to make your own silkscreens in this workshop as we explore how to prepare a screen, expose an image, print on your choice of paper and cloth, and manipulate your image for a variety of results.

Saturday morning will be an overview of the process and discussion of the kinds of imagery to prepare for the screen. In the afternoon, we’ll devote the day to exposing the screen and the printing. We will have inks, screens and paper on hand, and participants can also bring their own ink, screens, and printing substrates if they wish.

Materials included, however you can bring your own, additional substrates.

Tintype Workshop and Open Studio with David Emitt Adams

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.

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After the developer.

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In the final wash before varnishing.

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Warming up the plate before applying the varnish.

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Exposures of 15 to 20 seconds require sitting very still – the head brace helps!

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Pouring off the excess varnish of a portrait tintype.

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Making sure everything is properly focused.

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Here is a Graflex 4×5 with an aerial lens.

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The next setup was a modified Holga and the tissue paper was used like a ground glass plate to check focus.

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Final rinse at the end of the open studio day.

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Platinum Workshop with Keith Schreiber

Starting Friday evening and working through Sunday, the workshop students learned about creating digital negatives for platinum/palladium, chemistry, and then made prints in the alt process lab.

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Keith shared his expertise with the class and showed the process he uses to make palladium and platinum prints. You may remember Keith’s work on exhibit in the North Gallery along with Dick Arentz this past January and February during the Art Intersection Platinum/Palladium exhibition.

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Checking the first digital negatives for densities and checking exposure times.

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Keith concentrating on building and explaining digital negatives and Quad Tone RIP.

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Discussing paper choices.

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Ready to print.

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Coating Arches Platine with a glass rod.

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Time to expose.

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High tech or low tech, it’s all about UV light.

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Pouring on the developer.

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Trying the cold tone developer.

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Clearing.

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In the final wash.

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Final prints drying before going to the critique wall.

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Some of the dry prints on the critique wall. Others were still too wet to show by the end of the workshop.

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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.

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Workshop Students Make Daguerreotypes

Daguerrians

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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