Alternative Process Workshops

tags study, learn, advanced, digital,

Janus Boshoff In conjunction with Silvertone International and the College of Digital Photography
Proudly presents: Alternative Process Workshops

Intro

The humble origins of photography started of with a peculiar concoction of bitumen varnish, lavender oil, white kerosene and a camera exposure time of 8 hours in broad daylight. Bizarre as it may sound, this image, exposed by Nicephore Niepce in 1827, still survives today. These historical processes, commonly known as “alternative printing”, was the first traditional photographic processes. Largely forgotten, many of these unique and fascinating 19th century processes are re-emerging as artists seek alternatives to the artificial and somewhat plastic digital world we have created. Alternative prints are handcrafted by coating light sensitive chemicals with a brush onto fine cotton papers. The coated paper is exposed in the sun and then rinsed in water to create an antiquated feel. Depending on the process a wide array of colour tones can be achieved. The workshops are a hand-on experience with only one prerequisite: to have as much fun as possible! Though the workshops are designed so that all participants will leave with a good working knowledge of the process and a foundation that will allow you to continue the processes at home, the workshops are not technical orientated. We much rather focus on letting those creative juices flow!

The workshops start at 9 in the morning, and after coffee and rusks, we coat and expose our first alternative prints for the day. To avoid lectures and lengthy (boring…) discussions, we send theory notes to all participants a week prior to the workshop. In the workshops, we focus on coating techniques, and under Janus’ guidance, each participant produce a number of prints. The images are A4, and we print it to A3 size on fine cotton papers. Depending on the weather, we expose our prints in the sun, and in the event of a rainy day, we have a UV exposure unit on standby. Prints are washed in running water, and for the more adventurous, we will have toning baths made up of tea, coffee, or a puzzling brew of oak tree-bark. Travel back in time - retrace the steps of the discovery of photography with Janus Boshoff. Silvertone International provides the toys, and College of Digital Photography the playground. In the first workshop you will be exposed to the traditional Cyanotype print discovered in 1842, which renders images in beautiful monochrome hues of Prussian blue.

The second workshop will be the slightly more advanced Van Dyke Brown printing. This is a “seriously” experimental workshop, where we mix up different combinations of processes with each other. Finally, we conclude the workshops with the exciting and more difficult Salt Paper Process invented in 1835 by Henry Fox Talbot, a process of immense historical value characterised by reddish brown monochrome colours easily toned to hues such as purple to blue-brown and smokey black.

CYANOTYPE WORKSHOP

Traditionally the first step into the world of alternative printing


Description:

The Cyanotype process was discovered in 1842 by Sir John Herschel. In his quest to find alternative light sensitive substances other than silver halides, Herschel discovered that if he combined two iron salts (potassium ferricyanide and ferric ammonium citrate) it would create a light-sensitive solution when dissolved in water. A sheet of paper was coated with the light sensitive solution, and when exposed to sunlight, a complex reaction took place. The paper was then washed in water, upon which an image was created in delicate tones of Prussian blue. The process quickly became very popular - it was cheap, simple, and safe. Moreover, the process resulted in stable, permanent prints. Herschel named the process Cyanotype from the Greek words believed to mean “blue” and “imprint”. Of interest note, he also coined the name “photography”. Fine examples of 19th century prints still survive in museums around the world, including originals made by Herschel in the 1842.


Prerequisite:

Cyanotype is historical in value, educational and regarded as a fine art medium. Not only for photographers, beginner to professional, but also teachers, educators, illustrators, graphic designers and artists are welcome. Basic knowledge of photography is useful, but not essential.

VAN DYKE BROWN WORKSHOP

Get your hands dirty in luscious hues of chocolate brown


Description:

The Van Dyke print was very popular from the late 19th century through to the 1920’s. It was based on a process devised by Sir John Hercshel during the 1840’s. The process is so named because the rich brown colours it produce is reminiscent of the tones and colours used by the Flemish painter Sir Anthony van Dyck (1599 – 1641). Until the 1920’s precoated Van Dyke paper was commercially available and the process was used mostly for making copies and contact prints. Although precoated paper is no longer available, preparing and coating your own paper is a straightforward process. Just like the Cyanotype Process, the coated Van Dyke paper requires exposure in sunlight and processing in water. The Van Dyke print also needs a thorough rinsing and fixing to prevent fogging. The Van Dyke Brown workshop is a hands-on adventure, where we will explore alternative coating methods and coating surfaces. As the Van Dyke is very similar to the Cyanotype process, more emphasis will be placed on creative printing techniques; we will play with toning processes, and have fun with prints produced in the Cyanotype workshop. We will also throw a dash of Cyanotype chemistry into this workshop… you’ll have to attend and see what the surprise is all about!

SALTED PAPER WORKSHOP

The first photographic process... printed with a dash of salt


Description:

It was with great surprise to Henry Fox Talbot when on 7 January 1839, Louis Daguerre announced the “first” photographic process – the Daguerreotype – to the world. For Talbot had already exposed images as far back as 1834, though he never made his experiments public. Talbot used sensitised paper as in-camera negatives, and printed it in contact with his Salted Paper process to create positive images. The Salt process was immensely popular, and although many other significant discoveries were made at the time, the process survived well into the early 1860’s. The Salted Paper is the most historical process of all the alternative printing methods, characterised by a reddish brown colour that is not much different from the Van Dyke Brown print, but exhibits a finer tonal gradation and easily toned in gold toner to produce such colours as purple to blue-brown to smokey black. Paper is salted prior to the workshop, but participants mix their own sensitising chemicals at the workshop. This is an advanced workshop, and where we focussed on introductions and creativeness with the previous workshops, we refine our alternative printing skills with the Salt workshop.


Dates:

Saturday 31st July - Sunday 1st August 09h00 - 16h00
Saturday 9th October - Sunday 10th October 09h00 - 16h00
Saturday 27th November - Sunday 28th November 09h00 - 16h00


Fee:

R2300.00 for all 3 Workshops


Where:


The workshops are held at the College of Digital Photography, 91 Oxford Road, Saxonwold, Johannesburg.

Early birds can pitch at 9h00 for coffee and rusks, and we start at 9h30 in the morning.

Fees include refreshments and all meterials required, including A4 litho negative, Japanese hake brush, fine artist’s watercolour paper, light-sensitive chemistry, printing frame, and all necessary safety gear. Please note - these processes are NOT hazardous if performed correctly.


What will the participants need?


Only 1 image, be it film or digital, colour or Black and White. If it is a film image, it will have to be scanned, as we edit the images digitally. Images must be A4 in size, JPEG, and at a resolution of 300 DPI. Images have to be ready and received no later than 3 weeks prior to the workshop, and can be delivered on CD or sent by email. What type of image? The number one question everyone always ask. As the Cyanotype produces a print with Prussian blue tones, the process does not suit all subject matters. This, of course, is entirely a question of personal taste. Seascapes, some portraits, abstracts and architecture works well. The Van Dyke and Salt printing is easy, and most subject matters go well with the brown, red and smokey-black tones.

Sponsorship:


Silvertone International proudly supports the education of fine art photography and alternative photographic techniques, and sponsors one place per workshop for a teacher, lecturer, scholar or student. Please contact us for more information.


Terms and Conditions:

• Please note that your booking can only be confirmed once a 50% deposit has been paid
• Payment can be made by transfer, direct deposit, cheque or credit card
• Deposits are non-refundable unless the college, for whatever reasons, should cancel or postpone a particular course
• Due to the workshops being fully booked well in advance, no transfers will be allowed once your place has been confirmed
• Student numbers are limited for each workshop, so you are encouraged to enrol early to avoid disappointment

To book for this workshop please contact The College of Digital Photography on 086 11 PHOTO or you can download the PDF below and fax the enrolment form to (011) 880 7679

tags study, learn, advanced, digital,

tags study, learn, advanced, digital,