In this workshop teen students explore the fundamentals and foundations of photography with fun photo projects every day!
Students will gain an overview of photographic techniques from digital capture and printing to using black and white film in the darkroom and historical processes.
Using both digital and film cameras, students receive on loan a 35mm film camera and a roll of film to explore 20th century film photography in the darkroom, experiment with hand-coated alternative photographic methods, and use the lighting studio to experiment with strobes and continuous lighting.
Each student will leave with a collection of their artwork made during camp and be featured in an online exhibition at artintersection.com.
Students are welcome to bring their own cell phone/digital camera and film cameras OR use cameras provided by Art Intersection.
Teen Photography
Enroll in the Art Intersection Teen Photography Workshop
After a couple years it was wonderful to host our Exploring Photography teen summer camp again!
Over four afternoons last week, instructor Lisa Zirbel taught our students the fundamentals of photography across both digital and traditional film mediums. Students learned how to shoot 35mm black and white film with manual SLR cameras and make enlargements from their film in our photo lab. They also had the opportunity to make studio-lit portraits, which they processed using Adobe Photoshop to make inkjet prints of their photos. They even mixed film and digital photography both by making cyanotypes using negatives printed digitally from their own images, as well as by using botanicals and expired photo paper to make lumen prints in the sun during class.
To end all of our teen camps, on the final day we pin the students’ work on the wall and invite their families for a critique session to reflect on what they learned and the challenges they faced while creating their art.
Over the weekend of July 15-17 Art Intersection hosted a Mordançage workshop instructed by Mordançeuse Elizabeth Opalenik. Students experienced a range of papers, developers, and print making techniques in their exploration of Mordançage.
Take a look at Elizabeth Opalenik’s website to see her creations.
Image Credits: Elizabeth Opalenik (1-5), Suzanne Fallender (4-9)
It’s great to have a “Teen Photo Camp” after a two year break due to cautions taken during the pandemic.
In this workshop teen students explore the fundamentals and foundations of photography with fun photo projects every day!
Students will gain an overview of photographic techniques from digital capture and printing to using black and white film in the darkroom and historical processes.
Using both digital and film cameras, students will print in the digital lab and in the darkroom, and experiment with hand-coated alternative photographic methods. They will use the lighting studio to experiment with strobes and continuous lighting.
Each student will leave with a collection of their artwork made during camp and be featured in an online exhibition at artintersection.com.
Students are welcome to bring their own cell phone/digital camera and film cameras OR use cameras provided by Art Intersection.
Teen Photography
Enroll in the Art Intersection Teen Photography Workshop
Exhibition
Considering Possibilities moves the viewer through the intentional mystical imagery of Elizabeth’s photography that breaks the realism of photography to the moods only available through the magic of experimental and alternative photographic processes.
Ryan Gallery presents a collection of prints by Elizabeth Opalenik with Mordançage work also found in her book Poetic Grace, the never exhibited platinum print series from her personal experiences A Journey Home, and a collection carbon prints created using the same negatives from her Mordançage prints.
Elizabeth will join us for the opening reception on July 16 from 5pm to 8pm, and on Friday July 15 at 7pm she will give a talk about her art and experiences as a photographer.
About Elizabeth
Elizabeth spun a map on a lazy-susan in 1968 and left home to the sound of peace marches and her mother saying, “I knew you were different from the time you were two.” She discovered photography as a metaphor for life in 1979 at the Maine Photographic Workshops and discovered passion and possibilities in Provence in 1983 where she later began her evolution as a Mordançeuse. Traveling through six continents, camera in hand, she connects life’s possibilities through teaching workshops, humanitarian projects and making art.
“I am a photographic artist, educator and freelance photographer traveling the world with my camera and I love it. Philanthropic projects keep me grounded and connected universally.
I believe that all good photographs are self portraits and know that my many former lives manifest themselves in my images. My heart is still in my darkroom working in the Mordançage process, but I use today’s technology when appropriate to explore all the creative paths.
My photographs are collected and published internationally and all work is for sale. Mordançage images are unique, others are silver gelatin, platinum, hand painted or digitally printed in very limited editions on beautiful handmade papers.”
3-day Mordançage Workshop with Elizabeth Opalenik, July 15, 16, 17, 2022, from 9am to 5pm each day with lunch included.
I vividly remember that first Provence meeting in 1983 when I heard Jean-Pierre Sudre say, “In mordançage you have the possibility….” For the next 30 summers I visited his studio and work discovering them all while learning the process in 1991 directly from this master. In this workshop we shall begin with a brief history of the mordançage process, looking at original work as we gather valuable insight into directions for making it your own creative voice.
Together we mix the chemistry and begin with an instructor demonstration on understanding the test strips to discover proper exposures for negatives and working with photograms, which is the best way to learn the possibilities. Mordançage takes time to master when working with intent and begins with a darkroom print. Information on making negatives, film or digital, and materials to bring shall be sent prior to the workshop. You will discover, when the silver print is put through the mordançage solution, the silver gelatin in the densest areas of the photographic print swell and can be removed with the pressure of a jet of water or cotton ball. Darkroom days will be spent testing various paper and redeveloper combinations, experimenting with oxidation, toners and hand painting to alter color, and deciding to save or not to save the veils. Often, just because you can, doesn’t mean you should. Papers, chemicals and notebooks with formulas will be supplied.
After more than 30 years of committing to the mordançage process, Elizabeth has many possibilities, pitfalls and discoveries to share. Working collectively with a group of photographic peers, students can combine information on papers available today to further enhance their creativity. Experimenting is highly encouraged. A working knowledge of the darkroom is essential.
As artists, we much each find our way and hope to leave something of value behind. The “draped spidery veils” in the images are my contribution to this process, accomplished by using my breathe or drops of water to preserve and alter the delicate floating silver skin. As such, each piece is unique and truly made by hand even when created using the same negative.
After a couple years it was wonderful to host our Exploring Photography teen summer camp again!
Over four afternoons this week, instructor Lisa Zirbel taught our students the fundamentals of photography across both digital and traditional film mediums. Students learned how to shoot 35mm black and white film with manual SLR cameras and make enlargements from their film in our photo lab. They also had the opportunity to make studio-lit portraits, which they processed using Adobe Photoshop to make inkjet prints of their photos. They even mixed film and digital photography both by making cyanotypes using negatives printed digitally from their own images, as well as by using botanicals and expired photo paper to make lumen prints in the sun during class.
To end all of our teen camps, on the final day we pin the students’ work on the wall and invite their families for a critique session to reflect on what they learned and the challenges they faced while creating their art.
There are still slots open for our July session of this summer camp as well!
It’s great to have a “Teen Photo Camp” after a two year break due to cautions taken during the pandemic.
In this workshop teen students explore the fundamentals and foundations of photography with fun photo projects every day!
Students will gain an overview of photographic techniques from digital capture and printing to using black and white film in the darkroom and historical processes.
Using both digital and film cameras, students will print in the digital lab and in the darkroom, and experiment with hand-coated alternative photographic methods. They will use the lighting studio to experiment with strobes and continuous lighting.
Each student will leave with a collection of their artwork made during camp and be featured in an online exhibition at artintersection.com.
Students are welcome to bring their own cell phone/digital camera and film cameras OR use cameras provided by Art Intersection.
Teen Photography
Enroll in the Art Intersection Teen Photography Workshop
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 and 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 materials are included in the registration fee for this workshop.
Workshop
Please complete this workshop sign up form before payment! This helps us stay in contact with you as well as update you with any information you may need before the workshop.
About Kate
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.
Kate Breakey
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.
This workshop is full. Please email or call if you wish to be placed on a wait list.
In this two-day workshop students will learn the art of photopolymer gravure printing. Using light-sensitive steel-backed Solarplates, participants will create 4″ x 5″ and 6″ x 8″ gravure etching prints from their photographs. This environmentally friendly process translates photographic detail into ink on paper with unparalleled beauty.
No prior experience with printmaking is required. All necessary aspects of printmaking will be discussed including choosing inks, papers, and wiping material. Wiping and inking techniques will be covered. Be prepared to marvel at the way your photograph is transformed through ink on paper.
The making of digital positives will be discussed, but for the workshop itself, you will send color or black and white image files (300 dpi at 10” on the long side) to be made into a digital positive prior to the workshop. An email with details will be provided once you are registered. Please submit a WORKSHOP SIGN UP FORM located below so we are able to contact you!
Here is a brief outline of the process that will be presented in this workshop:
A transparency positive will be made from your photograph
The positive is then placed on top of the light sensitive polymer plate and exposed to UV light
Washing the plate in water etches the image onto the plate
Once hardened, the plate is hand inked using water-soluble intaglio inks
The inked plate is then run through an etching press onto dampened paper
Remnants #202, Karen Hymer
About Karen Hymer
Karen Hymer is an artist and educator based out of Silver City, New Mexico. For the past seven years she has ventured into the world of printmaking – exploring imagery in the form of photopolymer gravures. Her current work explores the effects of time on the human body and various plant life. Hymer’s richly detailed photogravures emphasize the interplay of texture, pattern, light and shadow in muted earth tones. The decontextualized close-ups of the body and decaying plants reveal a poetic beauty in these often over-looked subjects.
Please complete this workshop sign up form before payment! This helps us stay in contact with you as well as update you with any information you may need before the workshop.
