Carbon Print Process (WIKI LINK) is one of the most beautiful processes ever invented. It’s superior to all other printing processes in it’s tonality and archival qualities. The only problem is that it is extremely slow process. It will take three days to make a several prints from scratch. Because carbon printing process is very slow, I’m limiting this workshop to a small group of four participants. Carbon print from silver-based negative is the best medium from the best medium. Digital negative simply does not have the ability to block the light as efficient as film does. And if you’re a large format photographer, then you know that enlarging printing method can be compared with the tonality and clarity of a contact copy print. And if the printing process is carbon print (on glass) then, by my humble opinion it is just the best possible way to print a photograph. In theory you could make a good carbon print from any kind of negative, but we will learn how to get the best consistent results by adjusting exposure and development of the negative.
In this workshop we will cover:
- Each participant will make at least two 5×7″ film negatives, a portrait and a landscape scene.
- We will expose and develop the negatives to get the best out of the carbon printing process.
- The making of pigmented gelatin also known as glop for carbon tissues from scratch.
- How to calibrate the glop (pigmented gelatin) to the certain density of a film negative.
- Using different pigments for toning carbon prints.
- The difference between the traditional dichromate and DAS sensitisers.
- How to dry, sensitise and expose a carbon tissue
- How the different quality of light exposing a carbon print effects the end result.
- How to “develop” an exposed carbon print.
- We’ll be trying different materials for the final support, from fixed-out silver gelatin paper, seized fine art paper, plastic Yupo paper, to my favourite way of printing, a carbon print on glass.
- How to seize an art paper for carbon printing process.
- Presentation of a carbon print on glass
Thursday 14th, 15th and 16th of May 2020. We start at 9:00 and end the day at about 19:00
This is a basic course, going easy to follow step by step, so no previous knowledge is required.
Three day workshop costs 650 EUR and that includes all the material costs and detailed hand out notes with all the steps and receipts. All the negatives and prints you will take with you. Even some un-exposed carbon tissues, so after the workshop you can practice immediately. The price does not include food or accommodation. That said, if the weather permits, one night, we will have dinner in the forest, beside a bonfire on the top of the hill.
I recommend RaMar accommodation (LINK) But if you are coming by car, there are more options. Five kilometers away, in Dolenjske Toplice there are options like camping (LINK), Hotel Pri Mostu is really nice place and in Novo mesto that is 9 km away there is also Hostel Situla. There are many other options on Booking.com.
The workshop is limited to four participants and you get your place by paying the reservation of 200 EUR. The reservation fee is 50% refundable one month before the workshop and after that it’s not refundable. The rest you pay at the beginning of the workshop. I want you to feel comfortable and pay when you will be here, but I do need to collect the reservation fee.
HOW TO GET HERE?
The closest airport is Ljubljana, Slovenia
The second closest airport is Zagreb, Croatia
Then there are two more airports in the vicinity: Klagenfurt (AT), Treviso (IT)
If you will come by buss or train, go to Novo mesto. From Novo mesto busses are going to Straža, but the connection is not that good, so I can pick you up and drop you to your accomodation place.
Please email me for reservations and more information firstname.lastname@example.org
- Introduction to the processes and reviving some examples of prints and negatives.
- Going to the river and exposing few 5×7″ film negatives.
- Developing films with ID-11 and Sandy King’s Pyrocat HD
- Making close face portraits with studio flash, of course, on 5×7″ film negative.
- Safety measures during the work with DAS sensitiser.
- Preparation of glop, the pigmented gelatine.
- Pouring the sensitised and pigmented gelatine on the temporary support.
- Drying the tissues.
- Exposing the pre-prepared and sensitised carbon tissue.
- Making the first carbon print and getting familiar with all the steps of the process.
- Single transfer carbon printing process.
- Making carbon prints from the carbon tissues prepared the day before.
- Seizing art paper for the final support of the carbon print.
- Preparation of glass as the final support of the carbon print.
- Learning how to manipulate contrast.
- How the quality of light that the carbon print is exposed effects the contrast of the image.
- Making more carbon prints.
- Hardening seized art paper.
- Final presentation and protection of the print.
Each participant will receive notes with all the receipts and the most important points to remember.