Elevator is hosting a series of Darkroom Related workshops here in Toronto in conjunction with the Contact Photo Festival. Hope some of you can make it. If you are interested pleas email me at email@example.com DEFEND THE DARKROOM WORKSHOPS 1. DIGITAL NEGATIVE TO PICTORICO NEG Palladium Printing from Digital Negatives made with QTR Ron Reeder, Instructor Course Description We will learn to work with the QuadTone RIP, a third party printer driver that affords complete control over the inks of an Epson ink jet printer. With QTR we will learn to make digital negatives that are precisely tailored for contact printing on a palladium emulsion. Such negatives make prints that equal or surpass anything made from analog, wet darkroom negatives. While calibrating the negatives we will also be learning how to make an optimal palladium print, with clean highlights and a full tonal range extending to a deep black. We will be printing in palladium because it is actually one of the easiest and most reproducible of the "alternative" photo printing processes to learn. The first part of the workshop will be lecture and demonstration. However, there will also be time for students to make negatives and prints from their own image files. Students should have a working knowledge of Photoshop (or else the learning curve will be very steep!). All work will be done on Mac computers and Epson printers. Students should bring some image files to work on. Ideally they should be grayscale in 16bit depth. But in fact, we can work from any digital file. If students have a laptop running Photoshop, they should bring it as well as a memory stick to transfer files from one computer to another. Ron Reeder Ron had a career as a molecular biology researcher until retiring from the Hutchinson Cancer Research Center in 2002. At that time, he turned a photography hobby into a full-time second career. Ron studied large format photography with Bruce Barnbaum, Don Kirby, Stu Levy and others. Ron has helped improve methods for making digital negatives and has worked to teach this technology to others. A book on digital negatives (Focal Press, co-authored with Brad Hinkel) was published in 2007. Ron learned the Quadtone RIP from Roy Harrington and adapted this printer driver to produce excellent digital negatives (method described in a self-published book available from Lulu.com). He has taught numerous workshops on the technology of digital negatives and their use in palladium, gum, and other photo printing processes. Most recently he helped write the digital negative chapter in Christina Anderson's new book on Gum and Other Alternative Processes. Ron has had portfolios published in View Camera and Camera Arts Magazines, has had numerous one man gallery shows (does not bother to keep track of them) and is represented by Wall Space Gallery (Santa Barbara) and the Redstone Art Center (Redstone, CO). He resides on Mercer Island, WA with his wife and fellow photographer, Judith Roan. Dates, Fees and Location This is a two day intensive workshop and will be held at Elevator's main location - # 5 - 105 Vanderhoof Avenue. This workshop will be booked on a first-come, first-served basis. If this workshop fills, Ron has agreed to consider a second round if numbers warrant. Fees will be $350 per participant with a $50 lab fee. This gives each student enough pictorico and palladium solution to make test prints under Ron's guidance. A $200 deposit will be required to reserve your spot. There is a cutoff date for cancellation and the full balance will be required by March 31 2013 to confirm your spot. The workshop will run on Friday, April 26 and Saturday, April 27. The second workshop (if numbers warrant) will be Sunday, April 28 and Monday, April 29. Pay your deposit now! Considerations and Expectations - Attendees will want to come at least familiar with Quadtone RIP, Digital negative creation and the Palladium process. - Clothes should be old and an apron is recommended. - Lunch will be available for purchase by order. - Beverages will be available for purchase. - Remember this will be a demo, then hands on with assistants available to help with areas you are unsure of. - Basic PS experience is essential but there will be Lab assistants present with separate workstations to help those intimidated with the digital prep. - We ask that Mobile devices are turned off while Ron is teaching and we expect everyone to be on time and ready to learn and work with others. - The Workshop starts at 9am and will finish at 5pm. - Each participate will have equal access to equipment. This course is not about volume printing. Our hope is each person walks out with an 8x10 palladium in presentation matt that they can hang on a wall with pride. 2. MONOCHROME CARBON TRANSFER Carbon Printing with Digital Negatives Sandy King, Instructor Course Description Carbon is one of the oldest of all photographic processes, having been introduced more or less in its present form in 1864 by the Englishman Joseph W. Swan. Carbon is a contact printing process that gives a final image that consists of a pigment suspended in hardened gelatin. Carbon is without question the premier photographic printmaking process in all of history. Carbon prints have a unique image quality characterized by surface relief and a very long tonal scale with an almost absolutely straight-line curve. Prints can be made in a wide range of colors and tones, the choice limited only by the availability of suitable tissue, and when suitable pigments are used the prints are extremely stable. Our approach in the workshop is hybrid, combining the best of the old, the carbon process, with contemporary methods of image controls through Photoshop and the production of high quality digital negatives with Epson photo printers. In the carbon transfer workshop in Toronto the students will learn everything necessary to make their own carbon prints. There will be discussions of all the materials, equipment and supplies needed for printing with carbon, including information about light sources. The participants will learn to make carbon tissue, starting from the raw materials of gelatin, sugar and pigments, and will use this homemade tissue in printing. All of the various steps in making a carbon print will be explored in depth, including sensitizing carbon tissue to make it sensitive to UV light, preparation of final support papers, mating the sensitized and exposed tissue with a final support, and development of the carbon print in warm water. There will also be a very thorough session devoted to using Epson printers and the QTR driver to produce high quality digital negatives that can be used for carbon printing, or with appropriate curve modifications, with other alternative processes. For more information about Sandy King and his work see www.sandykingphotography.com Sandy King I was born and raised in Louisiana. As a young man I studied in Quebec, Belgium and Spain, eventually earning a Ph.D. in Spanish Literature from Louisiana State University in Baton Rouge. In 1971 I began teaching at Clemson University, and remained there until I retired from teaching in 2006. I currently reside in Easley, South Carolina. As a fine art photographer I have been interested primarily in the hand-made photograph and have acquired expertise in several different historical printing processes, including carbon transfer, kallitype, platinum and palladium, and Vandyke. Making a photograph by hand, which includes preparing the original sensitized material by coating a sheet of paper with a photographic emulsion, is a fascinating adventure in which one has maximum control over the printmaking syntax, which determine the final, tangible qualities of the photograph as object, including color, texture, tonal scale and reflective qualities. In recent years I have devoted much of my work to the carbon transfer process. This work has been exhibited widely and published in such magazines as Photovision, Silvershotz and View Camera. I have conducted many group and one-on-one workshops on carbon printing in the USA and abroad, including China, Canada, Mexico, Spain and Turkey. I have written extensively on alternative printmaking, including web articles on carbon transfer, kallitype, and Vandyke, and have a monograph on carbon printing, The Book of Carbon and Carbro: Contemporary Procedures for Pigment Printmaking. Greenville, SC: Permanent Light Systems, 2nd edition 2002. Dates, Fees and Location This is a three day workshop and will be held at Elevator's main location - # 5 - 105 Vanderhoof Avenue. Fees will be $600 per participant with a $50 lab fee which will cover materials to make prints and negatives for this course. A $300 deposit will be required to reserve your spot. There is a cutoff date for cancellation and the full balance will be required by March 31 2013 to confirm your spot. The workshop will run on Friday May 3, Saturday May 4 and Sunday May 5. Pay your deposit now! Considerations and Expectations - Attendees will want to come at least familiar with Quadtone RIP, Digital negative creation and the Carbon Transfer process. - Clothes should be old and an apron is recommended. - Lunch will be available for purchase by order. - Beverages will be available for purchase. - Remember this will be a very hands-on experience, so some darkroom experience would be appreciated. - Basic PS experience is essential but there will be Lab assistants present with separate workstations to help those intimidated with the digital prep and as well to talk you through some of the things Sandy is teaching if he is busy with another student. - We ask that Mobile devices are turned off while Sandy is teaching and we expect everyone to be on time and ready to learn and work with others. - The Workshop starts at 9am and will finish at 5pm. - Each participate will have equal access to equipment. This course is not about volume printing. Our hope is each person walks out with a variety of Carbon Prints. 3. SILVER PRINTING Steve Sherman, Instructor Course Description A working knowledge of Silver Printing should be a prerequisite as I plan on covering a number of little known printing techniques through a half day's demonstration. These techniques will be applied to Multi-Contrast silver materials which are currently available. My style and goals in teaching are to share the hows and whys certain controls work rather than just demonstrating. This approach leads directly into the students having a hands on experience while I and my assistant will problem solve the remaining two days. Archival printing and toning methods will be demonstrated during all phases of the wet process. Split contrast printing, print flashing, bleaching, and toning are just a few of the techniques I will explain and demonstrate. I plan on showing some of my own finished work and encourage all to bring work of their own, preferably problem negatives that can be used for teaching and corrective discussions. Steve Sherman www.steve-sherman.com Steve is from the Rocky Hill Connecticut USA. He is a master printer of Silver Gelatin Prints. His work is collected internationally and is in the permanent collection of the University of Louisville Photo Archives as well as this year's SNAP live auction. One of Sherman's images and personal endorsement was used by the Agfa-Geavert Company to promote their printing papers in an early 90's ad campaign. For years the Robert Klein Gallery in Boston, MA represented his work where he received numerous positive critiques from art critics. One reviewer described his work as "absolutely breathtaking with clarity and depth indescribable." Currently Sherman's work is represented by the Paul Paletti Gallery in Louisvile, Kentucky, USA. For more than 30 years Sherman has been printing silver gelatin in the wet darkroom using the finest single graded papers employing a host of techniques to manipulate the image to his liking. The past 10 years Sherman has used Multi-Contrast papers and finds those same techniques allow for greater darkroom manipulation and creative control over the graded papers of years gone by. Dates, Fees, Location Fees will be $400 plus $50 lab fee, which will cover chemistry and some paper. A deposit of $200 will be required to reserve your spot. There is a cutoff date for cancellation and the full balance will be required by April 10th, 2013 to confirm your spot. Pay your deposit now! This will be a two and half day workshop where the first after noon will be at the main darkroom at Elevator's main location (# 5 - 105 Vanderhoof Avenue) where Steve will go over the in's and outs of making a fine art enlargement on silver gelatin paper. The next two days will be in the Gallery 44 main darkroom (#120 - 401 Richmond Street) where each participant will have an enlarger to work with and, under Steve's guidance, will craft prints using your own negatives. Friday, May 24 - 1pm - 5pm - Nothing required to bring other than enthusiasm to watch a master carve out an image on Ilford Warmtone Saturday, May 25 - 9am -5pm - You will be assigned an enlarger with appropriate lens and negative stage, bring your negatives. And Portfolio for review with Steve Sunday, May 26 - 9am - 3pm sharp - same details as Saturday Considerations and Expectations - Attendees will want to become familiar with silver gelatin printmaking. - This course is aimed at those who have some understanding of negatives and printing in a wet darkroom - Clothes should be old and an apron is recommended. - Lunch will be available for purchase by order. - Beverages will be available for purchase. - Remember this will be a very hands-on experience so some darkroom experience would be appreciated. - There will be an assistant to help you during the day while Steve is busy with others if you are getting stuck. - We ask that Mobile devices are turned off while Steve is teaching and we expect everyone to be on time and ready to learn and work with others. - Each participate will have equal access to equipment. This course is not about volume printing. Our hope is each person walks out with a variety of finely crafted silver prints.