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FESTIVAL  

TALLER 06 copia.jpg
Célica Veliz1
Sergio Lairisa1
Jorge Alamar2
Jorge Alamar1
Sergio Lairisa2
Célica Veliz2
Carles Mitjà1
Carles Mitjà2

T51. Creation of (non) linear visual narratives through the photobook
4 HOURS

The workshop proposes the development of a (non) linear visual narrative of a set of images provided by the participant, whichit will end up being formalized in a photobook.

(0) At the beginning there will be a short introduction about the Workshop. We will also look at several physical photobooks and analyze them.

(1) Each participant must bring between 10 and 20 of their own images. Each of them must create a common thread between these photographs, thus creating a visual narrative.

(2) A blank stapled booklet will be given where the participant will paste their images and create a photobook mockup. You can use other elements such as cutouts or other materials that you want to add.

(2) Once the models have been made, the result will be shown to the other participants and there will be a round of feedback.

(3) At the end of the Workshop the models will be scanned and an online blog will be created with all of them (under the permission of each participant).

The objective is to work on the creation of visual narratives using only images and also learn how to set up a photobook: choose a title, purpose, concept, reading, materials, etc.

It is recommended that each participant come with a project or idea in mind to expedite the dynamics.

Participants must bring:

- 10 to 20 images

- 1 project or story in mind

- 1 hands

- 1 eyes

- 1 head (own)

- Eager to create

T50. Raid the library! Collective Bookjockey
4 HOURS

Libraries are not particularly attractive places for almost anyone these days. The few people who inhabit them usually look for tranquility and an internet connection to study or work. This workshop, which will take place within the framework of the EXP. 22 III International Festival on Experimental Photography of Barcelona,has the purpose of activating the library of the Institut d'Estudis Fotogràfics de Catalunya as a space for action and reflection for the subsequent video recording of a collective BookJockey sessionwhich will form part of the festival's own programme. Led by Jorge Alamar, the group of participants will immerse themselves in the more than 6,000 volumes that make up the library's collection and will carry out an intensive search from which to define and build the audiovisual piece.

1. Presentation of the BookJockey format and group creation of the proposal. (2 hours)

2. Recording of the piece BookJockey (2 hours)

T06. X–Ray Film:
A photographic alternative

4 HOURS

In this workshop I propose to explore and review the radiographic film (X-Ray Film) as a support for negative plate shots. After a talk and theoretical presentation (showing examples live and in a projection) there will be a demonstration of the work with radiographic plate in shots with pinhole and/or large format cameras. It will be seen how to reveal and fix them managing density and contrast depending on the subsequent copy work in different processes. Subsequently, there will be a demonstration of how these plates can be copied in different techniques such as van dyke, cyanotype or photographic paper.Contents

- The radiographic plate. Sensitivity. Handling. Take with different camera formats. Revealed and fixed.

- Developed specifically for different photographic copy processes (silver gelatin, cyanotype, van dyke brown).

- Possibility as interpositive and internegative to enlarge 35 mm.

- Expansion possibilities.

Participants may bring pinhole or large format cameras (if available) and license plate holders for large format cameras.

T48. X–Ray Film:
An alternative way to take pictures

4 HOURS

with Celica Veliz

In this workshop, I propose to explore and review the radiographic film (X-Ray Film) as support for negative plate shots.

After a talk and theoretical presentation (sample of live examples and in a projection) there will be a demonstration of the work with radiographic plate in shots with pinhole and/or large format cameras. It will be seen how to reveal and fix them managing density and contrast depending on the subsequent copy work in different processes.

Later, there will be a demonstration of how these plates can be copied in different techniques such as van dyke, cyanotype or photographic paper.

Contents

- The radiographic plate. Sensitivity. handling. Take with different camera formats. Revealed and fixed.

- Specific development for different photographic copy processes (silver gelatin, cyanotype, van dyke brown).

- Possibility as interpositive and internegative to enlarge 35 mm.

- Expansion possibilities.

Participants can bring pinhole or large format cameras (if they have them) and plate holders for large format cameras.

T28. Van Dyke Brown on alternative supports
4 HOURS

In this workshop we will work by copying Van Dyke Brown on different supports. We will begin with a theoretical exposition with a brief history of the techniques and a review of the work of different authors. Then we will move on to the practical application of the techniques on non-porous materials: glazed ceramic and glass. Subsequently, we will practice copying and mixing techniques (chemygrams, lumen print, frames) with discarded silver gelatin paper (used for black and white copies but no longer suitable for making copies without veiling). It will be tested how to use them with other emulsions such as van dyke brown, combining the reaction of both.

Contents

- Photographic copy techniques. History of the same. Historical references and current projects.

- Chemicals that make up light-sensitive solutions, how to prepare them and where to get them. Safety rules.

- Preparation of surfaces. Sizing or sizing. The jelly.

- Van Dyke Brown on non-porous supports: ceramic and glass. Surface preparation. Chemical preparation. App. UV light exposure.

- Silver gelatin papers. Characteristic. Veiled papers. Revealed and fixed. Working without developer.

- Lumen print. Combination of silver gelatin with van dyke brown solution.

Participants may or may not have prior knowledge.

- They can bring transparencies printed in negative with their images, objects to make frames, leaves of plants.

- They must bring pieces of discarded glass or glazed ceramic, not very large (around 15 x 15 cm)

T68. HELIOGRAVING,
print pictures by hand

4 HOURS

Description of the technique of heliogravure or photoengraving on copper plate.Projection and presentation commentary.

Preparation of translucent positive images for heliogravure.

Preparation of gelatinized paper or carbon tissue.

Sensitization of carbon tissue.

Preparation of the plot.

Exposure of the plot.

Exposure of the positive.

Adhesion of the gelatin to the copper plate.

Gelatin wash.

Preparation of the plate for the bite with acid.

Iron bite with acid.

Cleaning the iron.

Preparation of the engraving paper.

Plate inking.

Wiping off excess ink.

Printing of the stamp on the press or engraving press.

- Sample and commentary of materials.

Translucent positives printed on a digital printer.

Gelatinized paper.

Iron with adhered gelatin.

Plates ready for printing.

Engraving ink.

Engraving papers.

- Demonstration of inking and printing.

Inking techniques.

Techniques for cleaning excess ink.

Torculo pressure.

- Practice of inking and printing of the assistants.

With plates, ink and paper provided for this purpose, those attending the workshop will be able to experiment with inking, cleaning and printing a stamp.

- Review of finished works.

Sample, commentary and analysis of various finished works by the author with different inks and papers.

Working with ink carries the risk of smearing. A gown, apron, or apron can help prevent this.

T75. HELIOGRAVURE:
The Ink Imaging

4 HOURS

with Carles Mitja

Description of the heliogravure or photogravure technique on copper plate.Projection and presentation commentary.

Preparation of translucent positive images for heliogravure.

Preparation of gelatinized paper or carbon tissue.

Sensitization of carbon tissue.

Preparation of the plot.

Plot exposition.

Exposure of the positive.

Adhesion of gelatin to the copper plate.

Gelatin washing.

Preparation of the plate for acid bite.

Bite the plate with the acid.

Cleaning of the plate.

Preparation of the engraving paper.

Plate ink.

Clean up excess ink.

Printing of the stamp in the press or engraving press.

- Sample and commentary of materials.

Translucent positives printed on a digital printer.

Gelatinized paper.

Plate with attached gelatin.

Plates ready for printing.

Engraving ink.

Engraving papers.

- Demonstration of inking and printing.

inking techniques.

Techniques for cleaning up leftover ink.

twist pressure.

- Inking and printing practice for attendees.

With plates, ink and paper provided for this purpose, those attending the workshop will be able to experience the inking, cleaning and printing of a stamp.

Review of finished works.

Sample, commentary and analysis of various finished works by the author with different inks and papers.

Working with ink carries the risk of staining. A gown, apron or apron can help prevent it.

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