Hand-coloring is as old as photography itself. In the 19th century, color tinting was applied to early black-and-white prints to make them more closely resemble reality; it was the advent of color films in the 1950s that took photographic hand-coloring techniques into the realm of interpretive artistic expression. Applying color has become a way for photographers to alter their images so that they become something other, something that can be more compelling and absolutely unique.
This four-day workshop introduces you to the many materials and techniques of hand-coloring, inspiring you to experiment with your own creative process. You start with a digitally output print and then apply a variety of oil paints, pigments, pencils, and inks or pastels in combination, to extend the photographic image and produce the effects you want. The possibilities are limited only by your imagination.
Photography is a magical process, but the ‘hands on’ aspect of applying pigment is not only fun, it is meditation on the joy of ‘making’ something that comes from somewhere within.
Lunch and all materials are included in the registration fee for this workshop.
You can learn more about Kate and her work at her INFOCUS lectureon February 21.
Kate Breakey is internationally known for her large-scale, richly hand-colored photographs including her acclaimed series of luminous portraits of birds, flowers and animals in an ongoing series called Small Deaths published in 2001 by University of Texas Press with a foreword by noted art critic, A. D. Coleman. Since 1980 her work has appeared in more than 100 one-person exhibitions and in over 50 group exhibitions in the US, France, Japan, Australia, China, and New Zealand.
Her work is held in many public institutions including the Center for Creative Photography in Tucson, the Museum of Photographic Arts in San Diego, the Museum of Fine Arts in Houston, the Wittliff Collections at Texas State University in San Marcos, the Austin Museum of Art, the Australian National Gallery in Canberra and the Osaka Museum in Osaka, Japan. Her third book, Painted Light, published by the University of Texas in 2010, is a career retrospective that encompasses a quarter century of prolific image making.
Her collection of photograms, entitled Las Sombras / The shadows was published by University of Texas Press in October 2012. This series is a continuation of her lifetime investigation of the natural world which in her own words is ‘brimming with fantastic mysterious beautiful things.’
A native of South Australia, Kate moved to Austin, Texas in 1988. She completed a Master of Fine Art degree at the University of Texas in 1991 where she also taught photography in the Department of Art and Art History until 1997. In 1999, she moved to Tucson, Arizona. In 2004 she received the Photographer of the Year award from the Houston Center for Photography. She now regularly teaches at the Santa Fe Photographic workshops, and The Italy ‘Spirit into Matter’ workshops.
Her landscape images – selected from a life-time of photographing all over the world – were published by Etherton Gallery in a Catalogue entitled Slow Light. She also works with gold-leaf to produce a modern day versions of an archaic photographic process called an Orotone.
In October we hosted a Carbon Printing workshop led by Dennis L. Collins. Dennis was able to lead our participants through this tricky process from start to finish – sensitizing carbon tissues with potassium dichromate, exposing the tissue with a negative, transferring the exposed tissue to the support sheet, and developing the print. Our students got hands-on experience making prints, as well as lots of practice trouble-shooting, which will better prepare them for continuing this process on their own. Each student made beautiful prints, and all learned to find the beauty in mistakes!
Dennis demonstrates the process of sensitizing carbon tissues to light using potassium dichromate
As the carbon print “develops,” un-hardened carbon pigment floats away – leaving the image remaining!
Several participants experimented with salvaging the used carbon tissue, to interesting effects
The same print is shown here printed on white and black paper, creating a cool contrast. The image on the black paper is viewable only when held against light
Dennis discusses the participants’ final prints after two days of hard work
Join us for a hands-on introduction to the rare carbon transfer process! In this alternative photographic process, finely ground pigment creates a unique image quality and tonal range. The prints beg to be held in your hands to appreciate their texture and reflection of light.
Though carbon printing is notoriously difficult, with this class you can learn from a contemporary practitioner who has ironed out all the kinks. Dennis Collins has spent years perfecting his process, and now would like to share his knowledge with you!
The skills acquired in this class will provide you with the knowledge necessary to explore the possibilities of your artwork in this medium. This class is open to photographers of all levels, though some darkroom practice is beneficial.
Prior to the workshop students will need to provide a digital image containing highlight, mid-tone and shadow detail from which a digital image will be made for contact printing the size of a 4×5 print. More details will be provided upon registration.
Students will take home a glass and squeegee set at the end of the workshop to continue their exploration of carbon printing at home.
With over 30 years of experience as a Corporate Photographer, Dennis Collins’ interests now lie in the timeless beauty of carbon printing. While earning a Bachelor of Fine Arts Degree from the Center for Creative Studies in Detroit, Michigan he focused on alternative processes.
Dennis has painstakingly embraced carbon printing, a particularly difficult and rare process, and he passionately wants to share this knowledge with others in the hope this art form will continue. When not in the darkroom, Dennis enjoys spending time with his family, volunteering at Art Intersection and Infinity Hospice, and car racing.
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!
This course provides a hands-on introduction to the fascinating 19th century bleach/etch process of Mordançage. Each student will be instructed concerning the history, process, and various techniques in which to produce engaging imagery within the medium. Mordançage produces wonderfully evocative imagery, and the possibilities for experimentation are nearly endless. The knowledge and skills acquired in this class will equip you in the development of self-expression and provide an opportunity for intuitive applications in your own artistic practice. All students must be prepared to experiment, be creative, but most importantly to have fun!
The course is intended for intermediate to advanced photographers only, as each student must possess a foundation in the fundamentals of gelatin silver darkroom printing techniques prior to enrollment. If you are new to darkroom printing or would like a refresher course, check out our 1-on-1 Tutorials.
Though there will be time to make new prints during the workshop, students will benefit from bringing at least 20 finished gelatin silver prints and a large range of negatives to experiment with this process. More details will be provided upon registration.
Mordançage is a mystifyingly beautiful method of altering gelatin silver prints or negatives with endless opportunities for experimentation and creative application. Mordançage chemistry physically lifts the darkest parts of the photographic emulsion from the rest of the image, allowing it to be manipulated into veils or removed completely. This rare 19th century process was largely forgotten, but fortunately was revived by 20th and 21st century practitioners Jean-Pierre Sudre and Elizabeth Opalenik. Try it yourself and prepare to be amazed at the possibilities this process will introduce to your artistic practice!
Jace Becker earned degrees in photography and anthropology from Montana State University, and is currently a 3rd year MFA candidate in Photography at Arizona State. His work focuses on the cultural landscape, specifically social and self-exploration, issues of identity, vulnerability, and the darker sides of introspection. His area of emphasis is in alternative processes. When he is not hiding from the Arizona sun in his darkroom, he is an avid rock climber, surfer, and lover of sailing.
We had such a wonderful, colorful day with Andy Burgess during his Fine Art Collage workshop with us! Andy pushed his students out of their comfort zones and really opened the floodgates of creativity for them, and their work shows it. Bravo, all!