+ Cameraless Photography
Ergül Karagözoğlu + John Beaver+ Misael Sámano-Vargas + Gül Cevikoglu + Bridget Conn
You can now consult our workshops for techniques!
+ The language of the title indicates the language of the workshop.
+ To take workshops you must be a festival participant.
+ To be a participant, register here.
T21. Cameraless Under Sun: Cyanotype, Lumen, and Cyanolumen
4 HOURS, 20/07 THURSDAY
This is a cameraless photography workshop where we will experience cyanotype, lumen and cyanolumen print. In this workshop, we will produce that increase the conceptual use of randomness by using cameraless photography processes as artistic expression. We will play the game against the camera to declare our freedom; by pushing the limits, pursuing new undiscovered things, mixing techniques and searching for alternatives. In this workshop, we will learn one of the oldest photographic printing techniques in history, the cyanotype technique and the lumen printing technique in which photographic paper is exposed under the sun. And by combining these two techniques, we will experiment with cyanolumen.
+Participants don't need to have prior knowledge and all necessary materials will be provided for the workshop. It is best to dress comfortably in case your favorite clothes get chemically contaminated. If you want to print a photo of yourself as a print, you will need to send it to email@example.com 10 days before the workshop. It is recommended that participants bring their own objects, anything with interesting shapes, edges, flowers, leaves and shapes they want to use. Also I recommend that you bring a large smooth pebble and a small cloth with you to do experiments on different surfaces.
T37. Antiquarian Soup: Gum Bichromate, Cyanotype, and Van Dyke
8 HOURS, 21/07 FRIDAY & 22/07 SATURDAY
In this workshop we will work with 19-th century printing techniques. We will learn how to prepare them and mix them all together. We will see Cyanotype, Vandyke Brown, gum bichromate and learn various formulas. What can we do by mixing techniques ? We will examine creative examples from different artists and the samples that I will bring with me. How to prepare a digital negative with PS. We will prepare the emulsion of cyanotype, gum bichromate, vandyke brown.
+ Participants don’t need to have a prior knowledge and all necessary materials will be provided for the workshop. It is best to dress comfortably on the day of the workshop in case your favorite clothes get chemically contaminated. If you want to print a photo of yourself you will need to send it to firstname.lastname@example.org 10 days before the workshop. Participant can bring flowers, leaves, plants, feathers, paper shapes etc. 3D objects; anything that able to create an interesting shadow.
T40. Impresión Lumen: del concepto al gesto
4 HORAS, 21/07 VIERNES
En este taller se propondrán los fundamentos técnicos y conceptuales de Lumen. les participantes tomaran contacto con los posibles gestos simbólicos que implica esta técnica, como la evanescencia y el contacto directo del fenómeno sobre la superficie del papel. Se realizarán pruebas de papel, mas tarde se trabajará con las técnicas más avanzadas y que, además, permiten iniciar la conversación no solo sobre la reproductibilidad y lo contradictorio de hacer procesos fotográficos no-reproductibles, sino que, además, se podrá proponer la idea de la impresión de la experiencia, desde la piel, los objetos y los gestos sobre el papel fotográfico.
+ Los participantes deben traer objetos personales (translúcidos, tridimensionales y planos), libreta de apuntes. Opcional: impresiones sobre acetato (papel plástico) de sus imágenes (en blanco y negro, tamaño máximo de 20x20 cm, de cada imagen tienen que traer dos o tres copias de cada imagen que seleccionen).
T08. In-Camera Photography with Cyanotype and Accelerated Lumen Paper Negatives
4 HOURS, 19/07 WEDNESDAY
In the proposed workshop, the cyanonegative technique and a special variation of Lumen will be developed, taking pictures in home cameras. I call these two processes cyanonegative and ephemeral process (EP) photography, respectively. In both cases, an image is made from a hand-treated paper negative. Exposed in a simple homemade camera. A digital image is created from the paper negative, and the rich and complex textures of the paper fibers and hand-brushed sensitizer become part of the art of the image.
+ Participants should bring previous familiarity with cyanotype printing and large format photography is helpful, but not necessary. If you can, bring a light-weight tripod and a 5x4 camera (optional).
T23. New Resinotype, a Color Pigment Printing Process
8 HOURS, 20/07 THURSDAY & 21/07 FRIDAY.
In this workshop you will be looking at New Resinotype, which is a dry process using only powdered pigment and a safe and widely available UV polymer acrylic resin. It is suitable for almost any smooth, hard surface, including artist paneling, wood, and tile. In the first of two sessions we will learn the basics of the process, including best practices for low waste. We'll first focus on positive stills, and then progress from there to working with film negatives and digital positive transparencies, and selective pigment application. The second session will focus on tricolor printing from digital transparencies.
+ The participants should bring: UV Polymer resin (I will give instructions). - FEP plastic sheets (I will give instructions). Small, prepared boards for printing (I will give instructions). Small, thin objects for photograms. Medium or large format (9x12cm) film negatives. Positive digital transparencies (9x12 cm).
T62. Watergrams: the Shape of Water!
4 HOURS, 22/07 SATURDAY
Watergram is a photogram technique based on water and capturing its movement. A photographic image is made without a camera by placing a light-sensitive material in a water tray and, by doing this, we can capture water movements exposed to light. Results are mesmerizing, kinetic, and whimsical water-dancing images. It is a fantastic technique to experiment with light, fluid movement, and design patterns. Easy? Not really: it requires a great deal of patience, practice, and combined with docility in working with the ultimate fluid element. The subject of the photographic image is water and its kinetic. You will be surprised by the exquisite outcomes and its simple darkroom set-up and chemistry will provide an addictive desire to continue on this technique.
+ If a participant desires to bring their own BW-RC Photo paper and a flash, they could do so. Smart phone is suggested during the workshop for timing their development in trays.
T53. Cameraless Experimentation with Chemigrams
4 HOURS, 22/07 SATURDAY
Invented by Pierre Cordier in 1956, he claims chemigrams to be "most likely, the ultimate adventure of gelatin silver bromide." In this workshop, you'll learn how to incorporate painting, drawing, and printmaking processes into traditional silver gelatin darkroom paper through the camera-less chemigram process. Bridget Conn will give an overview of how chemigrams work, demonstrate a variety of tools and methods to explore mark-making, and give guidance on how to achieve control over value, texture, and even color.
+ Students should bring their own silver gelatin paper because each brand and surface gives different results. Resin-coated paper is recommended over fiber paper. The paper can be old / exposed / fogged so it does not have to be purchased brand new.