How to use images (from cameras and smart phones) to make inkjet transparencies for printing with early photographic processes such as cyanotype and salt printing.
There are many phone-apps and computer programs that will modify your pictures to make them look like old photographic processes. This workshop will show you how to use your digital images to make inkjet transparencies for contact printing using the genuine early photographic processes. Early photography wasn’t restricted to ‘sepia’ pictures, many of the early processes are enjoying a revival as their exciting qualities, colours and textures are rediscovered. There will be opportunities during the workshop to make cyanotypes (aka blueprints), salt and kallitype prints from your own images and on art papers of your choice.
One of the exciting opportunities opened up by digital technologies is the use of the desktop inkjet printer to make high quality negatives, of any size. Whilst it is still possible to make large film negatives, use of editing software such as Photoshop enables us to use images from digital cameras, phones and the web for the old or ‘alternative’ printmaking processes. The workshop will enable participants to prepare digital negatives – printed on transparency film via desk-tip inkjet printers – for use with a wide variety of these processes, including cyanotype, platinum, Van Dyke, carbon and photogravure printing.
Course participants will not need prior experience with early photographic printing, but some familiarity with Photoshop or other image manipulation software would be helpful.
This five-day course will introduce members to all the key aspects of the production of inkjet negatives and their use for photographic contact-printing using both the sun and modern exposure units. Specifically, by the end of the course, it is intended that participants will:
- Understand the use of transparency films with inkjet printers
- Understand the principles of the calibration of inkjet negatives to match theparticular sensitivities of different photosensitive coatings
- Understand the principles for the determination of correct exposure andprocessing of early (alternative) photographic printing
- Be aware of further sources of information about alternative photographic print-making and the use of digital negatives
By the end of the course, it is intended that members will be able to:
- Calibrate inkjet negiives using Photoshop adjustment curves
- Prepare and print inkjet negatives
- Produce inkjet negatives suitable for use with cyanotype, salt and kallitypeprintmaking processes
- Make a selection of prints from their own images using a variety of early printmaking processes
You will need to email the tutor a selection of your digital images in advance of the workshop. You can also bring additional image files on a memory stick or prints to scan during the workshop.
About: Dr Peter Moseley
Dr Peter Moseley is an experienced photographer and printmaker, principally using the techniques and processes of the nineteenth century, including photogravure, platinum, salt and albumen, carbon transfer, kallitype and cyanotype printing.
Peter has an MA in Printmaking from the University of Brighton and currently is Visiting Research Fellow at the Centre for Fine Print Research at the University of the West of England where he gained his PhD. He has had work shown at national and regional galleries, including the National Portrait Gallery and the Royal Society of Painters-Printmakers.
He is an experienced and qualified teacher and has taught photography/printmaking workshops at universities, colleges and print centres in the UK and in Russia and China. He has been teaching summer programmes at UWE for a number of years now.
Peter’s current focus involves making portraits, primarily of older people and older bodies. His works aim to depict the strength and fragility, and the humanity and life experience of his subjects through the portrayal of their skin and fragments of their bodies. He uses the materiality and haptic of prints made using early photographic printing processes to articulate the surface, depth and texturality of his subjects.
The course price includes all materials and catering.
Courses will be held at UWE Bristol. The course is limited to a maximum No: of 6 participants, please sign up early to secure your place.