Intervención Química

This workshop will introduce participants to the fundamentals of mordançage. Mordançage is an obscure darkroom technique developed in the 1970’s by French photographer Jean-Pierre Sudre which evolved from the 19th century process of bleach-etching. Working with our pre-made silver gelatin prints, we will learn how to add veils and textures to each print with mordançage chemistry. We will discuss the components of the chemistry, the steps of bleaching and redeveloping, and emulsion manipulation techniques. Participants will have time to explore the nuances of this haunting process and will leave the workshop with at least three fully-realized mordançage prints.

Outline

1. Intro: History of mordançage, print and negative presentation, shooting and printing recommendations.

2. Demo: Chemical composition of mordançage solution, bleaching & redeveloping process, questions.

3. Work Time: Participants will start working with the chemistry and have time to create.

4. Clean up

Participants must bring black and white silver gelatin prints that they would like to manipulate. Any paper type is fine, but don’t bring prints larger than 8x10 inches. It is ideal for prints to have large shadow areas of pure black. White borders around the printed image are preferable over full-bleed images. Bring as many prints as possible. Multiples of the same image are great. Prints should be developed with a non-hardening fixer if possible. If your prints don’t fit these specifications, bring them anyway and we’ll still try to work with them. Please don’t bring prints that are precious and irreplaceable, as they will be permanently altered! It is also important to bring a minimum KN95 mask (respirator is preferable) to protect from fumes. We will work outdoors so fumes are minimized.

Film soup and colour mordançage have the potential to work together to make amazing multicoloured photographs with fascinating textures. We will spend the morning discussing film soup techniques, looking at work and deciding from a variety of options to soup our film. Participants will receive 1-2 sheets of large format colour film and are welcome to bring their own film (any format) to work with as well. One box of large format film will be provided by the festival and I will see about bringing an extra box of expired film. After having rinsed and dried our film soups, we will learn how to shoot on a 4x5 field camera and walk around the neighbourhood near Pati Llimona so that each participant can make at least one photograph. We will develop the film with C-41 chemistry, using the bleach bypass method to retain silver in the film, which will allow it to react with the mordançage chemistry. We will soak our film in the mordançage chemistry in trays and watch as the emulsion lifts, turning into bubbles and veils. We will experiment with manipulating the veils. Once the film is rinsed and dried, the emulsion will stick back on to the celluloid and the negative can be scanned or printed.

Outline

1. Intro: Explanation of film soup and mordançage processes.

2. Film soup preparation- loading film in soup solutions, rinsing, drying and loading in film holders. Brief camera demo.

3. Photo walk: Walk around the area near Pati Llimona, each participant shoots one sheet of film.

4. Intro to C-41 Development: Explain steps and chemical reaction at each step and why we use the bleach bypass method. Develop film.

5. Mordançage Experimentation: Soak film sheets in chemistry, experiment with veils.

6. Dry film, clean up and discussion of the results.

En este taller, además de una breve introducción a la fotografía híbrida, presentaremos ejemplos de estrategias y técnicas de intervenciones manuales en la imagen impresa. Exploraremos técnicas de raspado e intervención con cloro sobre la imagen fotográfica. La imprevisibilidad de la corrosión provocada por el cloro añade un elemento de sorpresa a las imágenes, permitiendo un control selectivo sobre el daño en partes de la obra. El resultado de estas prácticas es la creación de imágenes sorprendentes y únicas que incorporan el espíritu de espontaneidad y experimentación característico de la fotografía artística.

Cronograma

1. Introducción a la Fotografía Contemporánea

   • Discusión sobre la fotografía híbrida, con énfasis en las estrategias manuales.

   • Presentación breve del trabajo autoral del instructor.

   • Revisión de ejemplos de artistas que usan estrategias manuales en fotografía: Elementos y rasgos/Líneas, costuras y bordados/Asimetrías y composiciones alternativas/Borrados.

2. Exploración de Estrategias Manuales

   • Análisis de las técnicas de intervención manual en la fotografía.

   • Introducción al tema de los borrados en la fotografía mediante raspado e intervención con cloro.

   • Ver video: https://www.youtube.com/watch?v=4saQhLBLY90&t=29s&ab_channel=LilianBarbon

3. Técnica de Raspado y Lijado

   • Demostración de la técnica de intervención mediante raspado e intervención manual con lijas y lana de acero.

   • Aplicación práctica de esta técnica para crear borrados y texturas interesantes en las imágenes.

   • Cada participante realizará intervenciones sobre sus imágenes, trabajando en áreas específicas de la foto para resaltar elementos importantes.

   • Revisión y análisis colectivo de los resultados obtenidos al final de la actividad.

4. Técnica de Intervención con Cloro

   • Demostración de la técnica de intervención con cloro sobre papel fotográfico.

   • Aplicación de cloro con pincel y lana de acero, generando efectos sorprendentes en la imagen.

   • Exploración de la imprevisibilidad del proceso de corrosión con cloro y cómo controlarlo para modificar selectivamente partes de la foto.

   • Cada participante realizará intervenciones en sus propias imágenes, mezclando técnicas para lograr efectos estratégicos.

   • Análisis grupal de los resultados obtenidos

Los participantes deberán traer: 

• Cámara fotográfica para refotografía (si lo prefiere, puede ser un celular).

• Pincel fino o medio (quien tenga).

• 10 (o cuantas pueda y quiera) imágenes impresas en papel fotográfico mate (sin brillo) de Fuji o Kodak - tamaño 20x30cm o qualquiera tamaño.

Sugerencia: traer imágenes que ya estén impresas y que deseen trabajar con las técnicas.  Elegir imágenes con predominancia de áreas oscuras.

This workshop is an introduction to the Chromoskedasic Sabattier printing process, which allows for silver gelatin prints to take on color and plated silver. The Artist use it as a simplified way to combine representational imagery with chemigram-like effects. The process can also create solarization effects. All prints are fixed for stability. We will learn a little bit of the history of the process and see examples of contemporary artists working with chromo. Students will bring their own BW 35mm negatives (or make photograms) to create silver gelatin prints that will then undergo the chromo process. At the end of the workshop, we will look at at least one traditional print and a chromo print of the same negative to have a discussion on how the visual effects of chromo contribute to the potential message behind the artwork.

Outline

1. Overview of history and process examples with images from my laptop and example prints

2. Demonstration of printing a negative and applying chromo chemistry

3. Students create their prints (most of workshop)

4. Critique comparing one unaltered print to a chromo print for discussion of message/meaning

5. Cleanup!

   
   

The Participants Must Bring:

• Some basic darkroom printing experience – ability to use an enlarger -- would be best.

• They need to bring their own 35mm negatives ready to print. Photograms can be used if necessary.

• They will need to provide their own silver gelatin paper. Warmtone is recommended but any silver gelatin paper should work. https://www.bhphotovideo.com/c/product/755283-REG/Ilford_1168374_Multigrade_FB_Warmtone_Fiber.html)

This workshop will introduce participants to the fundamentals of mordançage. Mordançage is an obscure darkroom technique developed in the 1970’s by French photographer Jean-Pierre Sudre which evolved from the 19th century process of bleach-etching. Working with our pre-made silver gelatin prints, we will learn how to add veils and textures to each print with mordançage chemistry. We will discuss the components of the chemistry, the steps of bleaching and redeveloping, and emulsion manipulation techniques. Participants will have time to explore the nuances of this haunting process and will leave the workshop with at least three fully-realized mordançage prints.

Outline

1. Intro: History of mordançage, print and negative presentation, shooting and printing recommendations.

2. Demo: Chemical composition of mordançage solution, bleaching & redeveloping process, questions.

3. Work Time: Participants will start working with the chemistry and have time to create.

4. Clean up

   
   

Participants must bring black and white silver gelatin prints that they would like to manipulate. Any paper type is fine, but don’t bring prints larger than 8x10 inches. It is ideal for prints to have large shadow areas of pure black. White borders around the printed image are preferable over full-bleed images. Bring as many prints as possible. Multiples of the same image are great. Prints should be developed with a non-hardening fixer if possible. If your prints don’t fit these specifications, bring them anyway and we’ll still try to work with them. Please don’t bring prints that are precious and irreplaceable, as they will be permanently altered! It is also important to bring a minimum KN95 mask (respirator is preferable) to protect from fumes. We will work outdoors so fumes are minimized.