Interventions on Photography

In  this workshop, participants will explore photographic intervention  through hand coloring and mixed media techniques, focusing on the  physical properties of photographic paper and how different materials  respond to wet and dry media. The workshop centers on understanding how surface, pressure, and material interaction transform the photographic print. Participants  will experiment with layering, glazing, controlled transparencies,  gradients, and selective applications while observing drying times and  adhesion behavior. The goal is to develop a more intentional and consistent personal workflow through direct material experimentation. Throughout  the process, analog photographs will be combined with paints, inks,  chalks, crayons, and pencils, encouraging a tactile and material  engagement with the image. The workshop invites reflection on how manual intervention can alter texture, atmosphere, and narrative meaning.

Outline

1. Introduction  and context: definition and history of photographic intervention and  presentation of artists working with analog and mixed media approaches

2. Materials and surfaces: overview of papers, finishes, and materials and how they react on different photographic supports

3. Techniques  and approaches: demonstration of layering, blending, texturing,  selective application, and discussion of spontaneity and intuition

4. Experimentation on black and white prints: practical exercises focused on contrast, tonality, and texture

5. Experimentation on color prints: exploration of tone shifts, transparent and opaque layers, and narrative effects

6. Free  exploration and reflection: individual work, discussion of processes  and results, and collective reflection on experimentation and outcomes

En  este taller se propone una intervención de la imagen a partir de un  diálogo entre técnicas experimentales fotográficas y pictóricas  históricas, entendiendo la transformación como un proceso material y  conceptual. La propuesta busca expandir y resignificar la imagen mediante la construcción manual del color. Se  realizará fabricación artesanal de pigmentos, experimentando el proceso  completo de creación del color desde cero y aplicándolo sobre copias  fotográficas. El enfoque estará puesto en integrar pintura y  fotografía en una misma superficie a través de capas pictóricas y  ajustes de opacidad y saturación. El taller aborda dos técnicas  al agua, temple al huevo y témpera a la goma, analizando sus cualidades  materiales como secado, acabado mate y estabilidad de capas. El  objetivo final es que cada participante desarrolle una metodología  personal de trabajo con color y fotografía aplicable a futuras  intervenciones.

Cronograma

1. Introducción a la propuesta, explicación del concepto de temple y visualización de ejemplos

2. Preparación artesanal de pigmentos y aglutinantes (temple al huevo y témpera a la goma)

3. Ajuste de propiedades del color y pruebas de aplicación

4. Aplicación de los pigmentos sobre trabajos propios e integración de capas pictóricas y fotográficas

5. Revisión colectiva y comentarios finales

In this workshop, participants will explore embroidery on photographs as a form of artistic intervention, using stitching to add new layers of meaning to photographic images. Embroidery is approached as an act of repair, emphasis, or transformation, responding to themes such as biodiversity loss and the need to reconsider how we look at the subjects we care about.

Working with Katel Delia, participants will discover how adding a physical layer to a photograph can create surprise, visual tension, and renewed attention. The process highlights embroidery as both a decorative gesture and a conceptual statement within the image.

The session focuses on how material choices, colour, and stitch type influence the message conveyed by the photograph, encouraging subtle but deliberate interventions. Participants will learn to use stitching as a visual tool for expressing personal concerns and positions.

Outline

1. Introduction to embroidery on photography, including contemporary artistic references and the history of embroidered postcards

2. Brief contextual focus on key figures and issues related to biodiversity loss

3. Introduction to embroidery on photography and overview of applicable techniques

4. Choosing colours and areas of the image based on intended meaning

5. Piercing photographic paper correctly without damaging it

6. Practice of flat embroidery stitches on photographic prints

7. Practice of relief stitches designed to preserve the integrity of the paper

8. Individual work and experimentation on participants’ own photographs

Participants are asked to bring black and white, monochrome, or colour photographs to work with. Needles, scissors, and thread will be provided by the festival, though participants are welcome to bring their own materials.

In this workshop, participants will explore the fundamentals of mordançage, an experimental darkroom technique developed by Jean Pierre Sudre, rooted in nineteenth century bleach etching processes. Working with pre made silver gelatin prints, they will learn how mordançage chemistry can create veils, textures, and emulsion lifts that transform the physical surface of the photograph.

The session introduces the chemical components of the mordançage solution, along with the bleaching and redeveloping stages, and different methods of emulsion manipulation. The focus is on understanding how chemical reactions shape the visual and material qualities of the image.

Through hands on experimentation, participants will become familiar with the nuances and unpredictability of the process, gaining confidence in directing the results. Each participant will complete at least three finished prints, with the aim of developing control within an inherently experimental technique.

Outline

1. Introduction to mordançage, including historical context, print and negative examples, and shooting and printing recommendations

2. Demonstration of mordançage chemistry, including solution composition, bleaching, redeveloping, and process questions

3. Practical work session applying mordançage chemistry to silver gelatin prints

4. Clean up and final review of results

En este taller se propone una introducción al archivo fotográfico y al álbum familiar como espacios abiertos a la relectura y la intervención. Se abordarán las características del archivo doméstico, sus vacíos, repeticiones y silencios, y las posibilidades creativas que ofrece para construir nuevos sentidos desde el presente.

A partir del análisis de proyectos artísticos que trabajan el archivo desde enfoques experimentales, lxs participantes explorarán cómo las imágenes familiares pueden ser activadas, alteradas y resignificadas. El foco estará en entender el álbum como un dispositivo fragmentario que admite múltiples lecturas.

Mediante combinaciones, intervenciones y gestos intuitivos, se trabajará con fotografías de álbumes propios o ajenos para generar un relato alternativo. La propuesta invita a reconstruir la memoria visual y a hacer arder simbólicamente las imágenes para devolverlas a la vida con un significado ampliado, impulsando la creación de un nuevo cuerpo de imágenes conectado con la experiencia actual.

Cronograma

1. Introducción al archivo fotográfico y al álbum familiar como objeto y dispositivo narrativo

2. Análisis de proyectos artísticos que trabajan el archivo desde perspectivas experimentales

3. Presentación de estrategias de intervención, combinación y resignificación de imágenes

4. Trabajo práctico con fotografías de álbumes familiares, propios o ajenos

5. Construcción de un relato alternativo a partir de la intuición y la fragmentación

6. Puesta en común y reflexión colectiva sobre los relatos generados

This workshop explores the relationship between image and text within photographic practice through analog methods. Using examples of artists who combine text and image in their work, participants will examine different visual and conceptual strategies for integrating written language into photography without relying on digital tools.

During the session, various techniques for incorporating text directly into photographic images through manual and experimental processes will be presented. Participants will work with their own photographs and/or negatives as base images, exploring how text can transform the narrative, meaning, and visual reading of an image.

In addition to the technical work, the workshop will include a reflection on the selection and use of text: how to choose between one’s own writing or existing texts, how to edit fragments to achieve clarity and conciseness, and how to balance the relationship between word and image. The aim is to expand the expressive possibilities of photography and open new ways of constructing hybrid visual narratives.

Schedule

1. Conceptual introduction: Presentation of the workshop and analysis of artistic references that integrate text and image within photographic practice.

2. Analog techniques for incorporating text into images: Demonstration of different methods for integrating text into photographs through manual and experimental procedures.

3. Practical exploration: Participants work with their own photographs as a base to experiment with incorporating text.

4. Text selection and editing: Discussion of strategies for selecting texts: using one’s own or existing texts, editing for clarity and conciseness, and building relationships between word and image.

5. Development and group review: Working and experimentation time guided by the instructor, followed by a collective review and discussion of the results.

In this workshop, participants will explore an experimental camera less process that produces photographs with a metallic surface responsive to light. The resulting works shift in appearance depending on the viewer’s position, transforming each image into a reflective surface where perception becomes part of the experience.

Participants will learn how to convert a photograph into a unique physical object by constructing a master print file through a three layer workflow. This method is designed to enhance contrast, refine detail, and control tonal depth, with particular attention to how technical preparation shapes the final visual impact.

The process emphasizes image preparation, material behavior, and surface transformation, highlighting the relationship between technique and perception. The workshop concludes with a collective review focused on how light, material, and viewing angle influence the final result.

Outline

1. Introduction and theoretical foundations of the process

2. Image preparation, editing, and printing of the base material

3. Lamination process and surface transformation

4. Review of results and group discussion

En  este taller se propone la intervención textil mediante bordado como un  recurso expresivo que potencia el mensaje de la imagen. El enfoque entiende el bordado como un diálogo con el contenido visual, más que como un recurso meramente decorativo. Se  trabajará el bordado sobre papel y el bordado aéreo, poniendo énfasis  en cómo la línea con volumen, el color y la materialidad interactúan con  la imagen. La propuesta se centra en elegir puntos y recursos que estén alineados con el significado de la obra. El  bordado aéreo permitirá explorar la corporeidad del hilo que se  desprende del plano, incorporando espacio y volumen a partir de una  superficie bidimensional. El objetivo es integrar de forma coherente imagen e intervención textil mediante una práctica técnica y conceptual.

Cronograma

1. Introducción al bordado: puntos básicos y bordado sobre papel

2. Procedimiento y técnica del bordado aéreo y uso de materiales

3. Estrategias para potenciar el mensaje de la imagen mediante intervención textil

4. Elección de líneas, colores y generación de texturas en relación con la imagen

5. Creación de tridimensionalidad mediante capas de veladura

6. Explicación técnica y visualización de ejemplos

7. Ejercicios de prueba y familiarización con herramientas y materiales

8. Bordado aéreo y desarrollo de un trabajo propio

9. Revisión y puesta en común de los resultados

In this workshop, participants will explore the fundamentals of mordançage, an experimental darkroom technique developed by Jean Pierre Sudre, rooted in nineteenth century bleach etching processes. Working with pre made silver gelatin prints, they will learn how mordançage chemistry can create veils, textures, and emulsion lifts that transform the physical surface of the photograph.

The session introduces the chemical components of the mordançage solution, along with the bleaching and redeveloping stages, and different methods of emulsion manipulation. The focus is on understanding how chemical reactions shape the visual and material qualities of the image.

Through hands on experimentation, participants will become familiar with the nuances and unpredictability of the process, gaining confidence in directing the results. Each participant will complete at least three finished prints, with the aim of developing control within an inherently experimental technique.

Outline

1. Introduction to mordançage, including historical context, print and negative examples, and shooting and printing recommendations

2. Demonstration of mordançage chemistry, including solution composition, bleaching, redeveloping, and process questions

3. Practical work session applying mordançage chemistry to silver gelatin prints

4. Clean up and final review of results

In this workshop, participants will explore the combined use of film soup and colour mordançage to create multicoloured images with lifted emulsions and complex textures. The session brings together two experimental processes to expand the visual and material possibilities of colour film.

The workshop begins with a discussion of film soup techniques, reviewing examples and selecting different chemical approaches to alter colour film. Each participant will work with one or two sheets of large format colour film, with the option to use additional formats, focusing on how chemical treatments transform colour and surface before the image is even exposed.

After rinsing and drying the film soups, participants will learn the basics of shooting with a 4×5 field camera and make photographs during a short walk near Pati Llimona. The exposed film will be developed using C-41 chemistry with a bleach bypass, allowing silver to remain in the emulsion so it can later react with mordançage. This stage emphasizes the transformation of the negative through both exposure and chemical intervention.

In the final phase, the film will be immersed in mordançage solution, where the emulsion lifts into veils and bubbles that can be manipulated by hand. Once rinsed and dried, the emulsion re adheres to the film base, producing negatives ready for scanning or printing. The workshop concludes with a collective discussion of the results and material effects achieved.

Outline

1. Introduction to film soup and mordançage processes

2. Preparation of film soup, rinsing and drying film, loading film holders, and brief camera demonstration

3. Lunch break

4. Photo walk near Pati Llimona using 4×5 cameras

5. Introduction to C-41 development and bleach bypass, followed by film development

6. Mordançage experimentation on colour film, including emulsion lifting and veil manipulation

7. Drying film, clean-up, and discussion of results

In this workshop, participants will explore photography as a mutable medium shaped by disappearance, fading, and transformation. The session approaches time, memory, and personal photographic archives as active forces that can alter the image rather than simply preserve it.

Participants will work with copied images from their own archives, especially photographs linked to difficult or complex emotions, and will engage in a process that allows the images to change physically over time. The theoretical component examines photography as a keepsake and memory device, contrasting early attempts to freeze time with contemporary practices that embrace decay and disappearance, with time itself acting as a visual and conceptual element.

The practical component combines technical and creative workflows. Participants will prepare digital files in Adobe Photoshop to create inkjet transparencies, learning resizing, inversion, tonal adjustment, and print settings. These negatives will then be used to produce disappearing photographs on gelatin silver paper, working with different emulsions and light sources to observe how material choices influence fading and transformation.

The workshop encourages participants to rethink photographic memory as something dynamic, where images evolve alongside personal experience rather than remaining fixed in time.

Outline

1. Theoretical session: photography, time, memory, disappearance, historical and contemporary references

2. Technical practical session: preparing digital files and inkjet transparencies using Adobe Photoshop

3. Artistic practical session: producing disappearing photographs on gelatin silver paper using digital negatives and experimental emulsions