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.
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.
After the developer.
In the final wash before varnishing.
Warming up the plate before applying the varnish.
Exposures of 15 to 20 seconds require sitting very still – the head brace helps!
Pouring off the excess varnish of a portrait tintype.
Making sure everything is properly focused.
Here is a Graflex 4×5 with an aerial lens.
The next setup was a modified Holga and the tissue paper was used like a ground glass plate to check focus.
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.
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.
Checking the first digital negatives for densities and checking exposure times.
Keith concentrating on building and explaining digital negatives and Quad Tone RIP.
Discussing paper choices.
Ready to print.
Coating Arches Platine with a glass rod.
Time to expose.
High tech or low tech, it’s all about UV light.
Pouring on the developer.
Trying the cold tone developer.
Clearing.
In the final wash.
Final prints drying before going to the critique wall.
Some of the dry prints on the critique wall. Others were still too wet to show by the end of the workshop.
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.
We always look forward to visiting artists coming to Art Intersection. Anna Strickland, an expert in antique photographic processes and Senior Critic in the Photography Department at Rhode Island School of Design is here to mount her solo exhibition opening April 6th, at Tilt Gallery in Phoenix.She spent the past weekend with us at Art Intersection teaching a gum bichromate over platinum/palladium workshop. Students learned how to make high quality digital negatives, using Quad Tone Rip technology, how to make a palladium print and also how to layer the image with gum bichromate.On Tuesday, Anna returned to Art Intersection to meet some of our members and look at their work.
Later that evening we all shared a meal in Romeo’s private dining room.For more images from the workshop visit our facebook page. On April 28 & 29, as part of our visiting artists program, we will be hosting photographer, Martha Casanave. She will be conducting a workshop on albumen printing. We will also have a member’s dinner with Martha on the evening of April 28th. For more information visit our website.
