NEW Field Wet Plate Collodion Shoot coming this July 14–15, 2007
Large format cameraInstructor: Will Dunniway of Corona, California, 40 miles east of Los Angeles, has been a professional graphic artist and photographer for over 40 years. He now practices the 19th century art of wet plate collodion photography using original cameras and lens with nearly 20 years experience.
The basic course description $425: ($100 deposit required to hold space)
Saturday: At the Corona Studio – Students will learn (or relearn) the making of ambrotypes (glass direct positives) and tintypes. (Ferrotypes, tin plate direct positives) adn large format glass collodion. Students are guided through the process step-by-step from the mixing, pouring, exposing and development of plates poured with wet collodion. The newest 4 color edition of the manual, Making the Wet Collodion Plate in 16 Steps manual by Will Dunniway is included along with all materials in the course fee. Students will use a period 1860 field camera with 1860-70 lenses. This will be for the beginner and experienced collodion practitioner. A two day course crammed into one day.
Sunday: Private land (with facilities) above Murrietta, California – We will drive the 30 minutes from Corona, Ca. to the oak /boulder wilderness location on the land of a friend. Very private. There I will set up one or two portable darkrooms and tutor you in a hands on field environment doing field wet plate work in the tradition of the old wet plate collodion masters. Lunch will be packed for you.
The workshop is not about the historical use of the process. It is about the use of wet plate collodion in a contemporary setting. It just so happens that I am an historical tin-typist with 19 years in the field doing this wet plate process.
I do not require anything remotely historical. I will also help you adapt newer ‘view’ type cameras with wet plate backs. Given this, my equipment is all original by default. This is the only equipment I use. My students have really enjoyed working with this rare camera equipment . The look these old lens give is incredible. In the end you will go away with a working knowledge of the process, not it’s historical interpretation.
I hope this information is useful. If you need to ask any questions, call. If you give me a thumbs up – Email: silverandsun@mac.com to attend the July 14–15, 2007 – The NEW Summer Wet Plate Collodion Field Shoot Workshop. Hope you can come
Will Dunniway
951-817-5113Email ~ silverandsun@mac.com
Web sites ~ www.dunniway.com and www.collodion-artist.com
Category: Workshops
Wet plate collodion workshops with Will Dunniway
Students will learn the making of ambrotypes (glass direct positives) and tintypes. (Ferrotypes, tin plate direct positives) Students are guided through the process step-by-step from the mixing, pouring, exposing and development of plates poured with wet collodion. The newest edition now is 4 color of the manual, Making the Wet Collodion Plate in 16 Steps manual by Will Dunniway is included along with all materials in the course fee. Students will use a period 1860 field camera with 1860-70 lenses. Workshop features 2 days of intensive hands-on training in the making of ambrotypes, ferrotypes (tintypes), and glass plate negatives. Each student will make and take home a self-portrait/still life tintype/ambrotypes. All materials and equipment provided.
The 4 day workshops include a day shooting with a Brownie type box camera that you keep. Intensifying glass negatives and printing from these negatives with salt paper.
SPRING Wet Plate collodion Workshop
April 14–15, 2007, Corona, California
write: silverandsun@mac.comPhotographer Formulary Workshop on Collodion Photography
July 22–27, 2007, Condon, Montana
See photoformulary.com to registerHistoric Eastfield Village, N.Y. Wet Plate Collodion Workshop
August 13–16, 2007, Nassau, New York (near Albany, NY)with Claude Levet assisting. (Tentative, see here to register)
FALL Wet Plate Collodion Workshop
October 6-7, Corona, California
write: silverandsun@mac.com
Project Basho’s summer workshop/class schedule announced, PA, US
Philadephia’s Project Basho has announced their Summer 2007 class and workshop schedule.
Project Basho provides not only the production space and the resources for photographers, it is our mission to provide opportunities for those interested in learning this rich and intricate medium.
Classes are intended for a wide range audiences: from complete beginners, to those who have some knowledge but without sufficient practice in recent years, to those who want to further develop their craft and their sense of vision. These classes are small and practice-oriented, so that each student can get enough attention and the appropriate advice from instructors.
Since the approach of the classes is holistic, the emphasis will be placed on gaining the practical knowledge as well as understanding of the aesthetics and history of photography. There will be a series of critiques where students are expected to show their work for various assignments. Also, students will be exposed to a wide range of photographic expressions through slide lectures on historical and contemporary works as well as through visiting museums and galleries of photography shows.
Heaps of good-looking stuff here, check out the lineup at ProjectBasho.org
Carbon printing workshop with Sandy King
Sandy King, author of The Book of Carbon and Carbro: Contemporary Procedures for Monochrome Pigment Printmaking, is teaching a carbon printing workshop at the Photographers’ Formulary in Condon, MT, US. It runs 10–15 June, 2007.
Laura Blacklow joins the f295 Symposium
Late last week Barbara Ess, citing personal reasons, let us know that she would be unable to fulfill her commitment to attend the symposium. A few phone calls later and we’re extremely proud to announce that Laura Blacklow is joining us!
Here’s some preliminary information on the talk she’ll be giving on Friday April 27 [2007].
Laura Blacklow
Convergence: PhotoGraphics
9:45-10:15amWith the relative accessibility of digital production and manipulation, questions about realism, as well as the issues of multiples or editions, compel both printmaking and photography to reexamine their traditional divisions as dissimilar methodologies. Historically, both techniques were used, not as art forms, but as ways of disseminating information and commercial depictions to viewers who could not see the actualities firsthand. Although we still tend to unconsciously believe that a photograph is an accurate representation, not an abstracted illusion, what happens when the camera and lens, the optical devices that provide such seeming precision, are removed from the process? or when scanners are used to create prints?
and her short bio:
Laura Blacklow is the author of "New Dimensions in Photo Processes, A Step by Step Manual for Alternative Techniques" (Focal Press, an imprint of Elsevier: 4th ed., 2007). Ms. Blacklow was the recipient of a National Endowment for the Arts Regional Fellowship for Works on Paper, the St. Botolph Cub’s Morton C. Bradley Award in Color for her pastelled digital photos, Polaroid Corporation’s Artist Support Program, and the Massachusetts Artists’ Foundation Fellowship for her hand-colored black-and-white photographs. She is on the faculty of the Massachusetts College of Art and the School of the Boston Museum of Fine Arts and has also taught at the Massachusetts Institute of Technology and Harvard University. Visit her website at www.lblacklow.com.Complete Symposium information: www.f295.org/wordpress
Diana Hooper Bloomfield lecture: "Pinhole and Alternative Photographic Processes", NC, US
Preeminent photographer Diana Bloomfield will discuss her craft at 8 p.m. on Saturday, March 31 [2007] at UNC Asheville’s Rhoades-Robinson Hall, room 125 [Asheville, NC, US]. A question-and-answer session will follow the talk, which is free and open to the public.
Bloomfield specializes in pinhole and 19th century printing techniques, including platinum and palladium, cyanotype and hand-tinting. She received a New Jersey State Visual Art Fellowship, several United Arts of Raleigh Regional Artist Project Grants and the Maine Photographic Workshop’s Golden Light Award.
Via Pinhole Visions
Wet plate collodion workshop with Kerik Kouklis, Philadelphia, US
Here’s a very interesting-looking workshop with Kerik Kouklis (I have it on good authority that his workshops are excellent):
Wet plate collodion, one of the earliest photographic processes, has been experiencing a resurgence of interest in recent years. This resurgence is primarily because of the beauty and uniqueness of the images created. In this workshop, you will learn how to create wet plate positive images (Tintype and Ambrotype) as well as wet plate negatives. Through a combination of discussions, shooting sessions and darkroom time, participants will learn how to incorporate this process in their own photography.
Cameras and wet plate holders ranging from 4×5 to 8×10 will be available for students to use. Students are also encouraged to bring your own view camera as well. This workshop is open to anyone with an interest in 19th century techniques.
The one-weekend workshop runs 9 am – 6 pm, May 5–6, 2007, at Project Basho, 1305 Germantown Ave., Philadelphia, PA, US.
Check out the complete workshop schedule at ProjectBasho.org, including a two-weekend pinhole workshop with Scott McMahon for Worldwide Pinhole Photography Day.
Elliott Erwitt lecture, Portland Art Museum, US
In conjunction with the debut appearance of the exhibition Personal Best: Photographs by [Magnum photographer] Elliott Erwitt at the Portland Art Museum, the great photographer speaks on the extraordinary moments in history and ordinary life that he has captured with his ever-present camera. This rare event includes a book signing following the lecture. Books will be available for purchase.
Sponsored by the Photography Council.
:ocation: Whitsell AuditoriumFriday, 16 March, 2007, 7:00 pm
Reception for Elliott Erwitt 5:30 – 6:30 pm
Lecture tickets: Members: $15, non-members: $25
Lecture and reception tickets: Members: $30, non-members: $50Tickets are available at the Museum box offices, portlandartmuseum.org, or 503.226.0973.
Via Robert Brummitt through APUG
Tonopah workshop with Jim Galli and Per Volquartz
Tonopah Nevada, November 12 to 16, 2007
A workshop with Jim Galli and Per Volquartz
Tonopah is an old mining town located in a part of Nevada, which is wide open and full of photo opportunities!
Both Jim Galli and Per Volquartz are seasoned large format photographers who will lead you to great locations, both natural and man made. Among other things you will learn how to scout and work efficiently in deserted locations. Interpretation of a scene, using the zone system, use of equipment, feedback on your personal work (portfolio and prints) and offering information about how to write effective grant proposals are just some of the items covered in this workshop.
Jim’s knowledge of lenses is legendary. Per Volquartz will show you how to analyze and simplify image content of a given location for maximum impact.
FREE – suggested donation = $85.00 per person to cover handouts, access and other workshop related expenses.
Email Per Volquartz to sign up today. The workshop is limited to 17 people.
Please write TONOPAH 2007 in your email header!Email: volquartz@volquartz.com
Per Volquartz website: www.pervolquartz.com/workshops.html
Jim Galli website: tonopahpictures.0catch.com
f295 Lensless & Alt Process Symposium early registration extended, B&H sponsorship
Tom Persinger, organizer of the f295 Symposium on Lensless, Alternative and Adaptive Photographic Processes, writes:
THE BIG ANNOUNCEMENT!
Part of my action packed trip to New York City 2 weeks ago was to solidify a partnership with B&H Photo & Video! B&H will soon be cross promoting the f295 Symposium to their customers! AND a B&H representative (whose also a HUGE lensless enthusiast!) will have a promotional table in the lobby of McConomy Hall during the symposium on Friday 27 April, at which they’ll be handing out catalogs, answering questions and offering sale flyers with symposium specials and sales on discounted merchandise and supplies! Look for future announcements on this exciting development! And look for the f295 logo in their next promotional email announcement!
yet MORE SYMPOSIUM NEWS!
*We’re receiving strong interest from people far and near. We’ve had inquires from the UK and Germany as well as a host of people from the states: New Hampshire, New York, Ohio, Minnesota, California and many places in between! Professional and amateur photographers, faculty and students, and just *regular* people ;) This event is shaping up to be the biggest most diverse and interesting gathering of lensless/alternative photography enthusiasts in the past 25 years (somewhat arbitrary, but I think accurate)… AND We have the beginnings of a nice group from the forum attending…. will you be adding your name to the list? email me if you’re thinking about it. This thread started by gneissgirl (thanks!) is an ongoing dialogue on whose attending, where they’re staying and other thoughts:
http://www.f295.org/Pinholeforum/forum/Blah.pl?b-to/m-1172336315/s-15/*The early registration rate has been extended through Sunday March 4! This is your last chance for this great rate! Register now… by phone 412-268-1125 OR…
*You can now register ONLINE!
*Many hotels are sold out due to Pitt Commencement being that weekend… How dare they schedule over the symposium and worldwide pinhole day! but I found that the holiday inn express on pittsburgh’s southside has rooms and a free shuttle that goes to the symposium: Holiday Inn Express Pittsburgh South Side – 1-412-488 1130 Their shuttle also goes into town (for the f295 exhibition) and will probably get you fairly close to the Daguerreian Society.