CAP: Introduction to Salted Paper and Albumen with Brenton Hamilton
Date: Saturday & Sunday, October 2 & 3
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30 Street NY, NY 10016
Price: $430
Registration Form

The exquisite 1860's albumen process will be investigated and introduced in this workshop. Floating paper with egg albumen then sensitizing with silver nitrate and then gold toning will be introduced in this weekend workshop. We'll cover emulsion preparation and recipes, coating and sensitizing and gold toning formulas. Paper selection prep and a discussion of appropriate negative density will be included.

Instructor Bio:
Brenton Hamilton holds his MFA in photography from the Savannah College of Art & Design. He is the Certificate Program Director of photography at Maine Media College and for 18 years has lead summer workshops in Maine. Brenton's own work is inspired by the 19th century and has become a principle area of research and inspiration both as a historian and a printmaker. Devoted to the cyanotype & gum bichromate, Brenton’s embellished images are exhibited nationally: East Coast; at Susan Maasch Fine Art in Portland, Maine and West Coast; at TILT Gallery in Phoenix, AZ.

Instructor’s work: www.brentonhamiltonstudio.net

CAP/ICP*: Making & Shooting Calotype Paper Negatives with Alan Greene
Date: Saturday & Sunday, October 9 & 10
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30 Street NY, NY 10016
Price: $430 + $40 (materials fee)
Registration Form

In this hands-on workshop, you will learn to use an effective nineteenth-century paper-negative technique adapted from Gustave Le Gray’s 1851 dry, waxed-paper procedure. Unlike Talbot’s original calotype process--which needed to be exposed in a dampened state immediately after being sensitized--these later procedures were far more convenient and reliable, since here the negatives could be sensitized several days prior to exposure and developed several days afterwards. All steps will be covered: whey-making, iodizing, sensitizing, exposure, development, and waxing, with historical contexts also being taken into consideration.

Instructor Bio:
Alan Greene took up the calotype process in 1998 as a reaction to digital photography. This led to his writing a technical manual, Primitive Photography, published in 2001. In 2003-2004, his paper-negative photography was featured at the Palazzo Caffarelli and the Maison Européenne de la Photographie, as part of their collaborative exhibit, Roma/Rome 1850. Since then, he has contributed to Etudes photographiques, the Encyclopedia of Nineteenth-Century Photography, and the Vocabulaire technique de la photographie. He resides in Cambridge, Massachusetts.

Instructor’s work: Primitive Photography: A Guide to Making Cameras, Lenses, and Calotypes on amazon.com

CAP/ICP*: Collotype Artist Lecture with Edward Fausty
Date: Tuesday, October 12
Time: 7:00pm – 8:30pm
Location: 36 East 30 Street NY, NY 10016
Price: Free
Registration Form

Edward Fausty, a practitioner of collotype, the little-known photomechanical printing process used in the nineteenth and early twentieth century to make exquisite ink reproductions (such as Eadward Muybridge's Animal Motion studies), will give an artist's talk about the process. He will show examples of his own work and that of former students and artists for whom he has printed, such as Kiki Smith, Accra Shepp, Chin Sung and Takeshi Kawashima. He will also provide a technical overview of the process, which is quite unique and different from its cousins, photolithography and photogravure. The purpose of the talk, aside from general education, is to assess the viability of setting up a hands-on collotype workshop.

Instructor Bio:
Edward Fausty, a photographer and master printer, spent fifteen years teaching himself the near-extinct collotype process and participating in its rebirth as an artist's tool. He has taught the collotype process at Princeton University, The Printmaking Workshop in NYC and at his own studio. His photographic work is in numerous collections such as The US Library of Congress, The Museum of Photography at George Eastman House, The Canadian Center for Architecture and various corporate and private collections. He has received CAPS and NEA fellowships.

Instructor’s work: www.edwardfausty.com

CAP: Cyanotype Printing with Robert Schaefer
Date: Saturday, October 16
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30 Street NY, NY 10016
Price: $290
Registration Form

This workshop is an investigation into the expressive possibilities of the Cyanotype. This process involves an iron-based chemical formula that creates a light sensitive emulsion. This emulsion is then painted onto art paper and exposed by placing a negative on the emulsion and making a contact print with a UV light source. This workshop will cover and demonstrate the techniques and procedures for making these aptly named blue-toned prints. Different chemistry formulas, emulsions, coating methods and paper choices will be discussed. Students should be prepared to bring in several of their own images in negative form. Medium and large format B&W negatives, paper and acetate negatives and digital negatives are all appropriate for this workshop.

Instructor Bio:
Robert A. Schaefer, Jr. began his photography career while studying and getting his MA Degree (Diplom Ingenieur) at the Technische Universität of Munich, Germany. With exhibitions in Munich, Frankfurt, Hannover, Hamburg, Paris and Graz, he moved to New York in 1981 where he began working with alternative printing processes from the 19th Century. His particular favorite became the cyanotype which was used to print the images for his exhibitions “Blue Berlin” which was in Berlin, Germany in 1997, “Nothin But The Blues” at the Barbara Levy Gallery in New York City in 1999 and his 25-Year Retrospective at the Huntsville Museum of Art in Huntsville, Alabama (his home state) in 1999 to 2000. They were also scanned to make large giclees for his exhibition “Face Lifts” at the Charles Chamot Gallery in Jersey City in 2002, and in 2005 his cyanotype prints of cityscapes formed the exhibition “City Blues” at the Silver Eye Gallery in Pittsburgh, PA. Lyle Rexer writes about Schaefer’s use of cyanotype printing of architectural images in Photography's Antiquarian Avant-garde (published by Abrams in 2002). Schaefer currently teaches various photography courses at New York University and writes about photography for the on-line magazine Digital Photographer. The Goethe Center of Chandigarh as well as the Goethe-Institute of Delhi is hosting an exhibition of Schaefer's cyanotypes in November 2010 with a catalogue which offers images of both exhibitions. The Goethe Institute is flying Schaefer there to speak at both openings as well as offer a cyanotype workshop at their individual institutes.

Instructor’s work: www.schaeferphoto.com

CAP: Introduction to Hand-Applied Emulsions with Ig Mata
Date: Saturday & Sunday, October 16 & 17
Time: 10:00am – 6:00pm (1 hour lunch)
Location: Instructor’s studio in Long Island City
Price: $430
Registration Form

This workshop will be an intensive introduction to the use of emulsions such as "liquid light" and other silver based liquid emulsions. The class will cover how to prepare a variety of surfaces to accept the liquid emulsion, with an emphasis on glass. Participants will learn how to prepare and clean the surface, heat the emulsion and coat the piece. When the emulsion is prepped, coated and dried it will be exposed under a regular B&W enlarger. Participants can bring 35 mm, medium format, and 4x5 B&W negatives to use for exposing. After the exposure, the image is developed, stopped and fixed with chemistry that is suitable for the surface that was prepared. Participants will create Black and White positives on flat and three dimensional glass pieces. Instructor, Ig Mata, writes: "The challenge of combining [the black and white pinhole image] with the delicate nature of glass to create unique works of art is a great motivation. The transparent nature of glass permits one to look beyond the image to the shadows projected on the surrounding space...intensifying the dream-like quality of my pinhole photographs.”

Class will take place at the instructor's studio in Long Island City.

Instructor Bio:
Ig Mata has been working with the camera obscura and the pinhole camera since 1988, first in her native Brazil and later in New York City where she currently resides. Mata has perfected a technique of transferring photographic images onto glass, based on the use of historic hand-applied emulsions. Her photographs are combined with a wide variety of objects in three-dimensional form. Her works have been exhibited in Brazil and the United States, and are widely collected. Mata’s work has received a strong response from the retail market and also from wholesalers, with a recent addition of corporate clients. SAKS Fifth Avenue’s Corporate Gifts Collection, HBO’s “The Sopranos”, The Whitney Museum, The International Center of Photography, The Bryant Park’s Public Library, and The Museum of the City of New York, are some of her top clients.

CAP/ICP*: The Daguerreotype Process with Jason Greenberg Motamedi
Date: Saturday & Sunday, October 23 & 24
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30th Street NY, NY 10016
Price: $795 + $90 (materials fee)
Registration Form

The daguerreotype is an image unlike any other; each is unique and elusive. It was one of the first and arguably most beautiful forms of photography, and yet its technologies are largely forgotten. In this workshop we will learn, practice, and discuss different methods of daguerreotypy with the goal that every participant be able to produce several images, and quickly be on their way to making daguerreotypes on their own. This workshop will use the less toxic and ecologically friendly Becquerel development, although we will discuss the basics of mercury development. We will concentrate on the most important and difficult skills: polishing, sensitizing, exposing, gilding, and problem solving. The course will also include a brief introduction to the history of 19th century photographic technology. All supplies and equipment will be provided by the Center.

Instructor Bio:
Jason Greenberg Motamedi is a Daguerreotypist and anthropologist. He has a doctorate in cultural anthropology, and has taught at several universities and colleges. He lives in Portland, Oregon and works for a non-profit organization conducting educational research and program evaluation. He has a profound and deepening interest in visual and photographic representation, seeking to understand and adapt 19th century technologies to contemporary aesthetic, intellectual, and ideological concerns.

CAP/ICP*: Gum Bichromate Printing with Brenton Hamilton
Date: Saturday & Sunday, October 30 & 31
Time: 10:30am – 6:00pm (1 hour lunch)
Location: 36 East 30th Street NY, NY 10016
Price: $430
Registration Form

In this workshop we will tour and investigate the expressive possibilities of gum bichromate washes to create new possibilities.

We'll make multiple impression gum images and you may bring images already printed in cyanotype or salted paper technique and then asked work gum washes applied over these images. Gum and other processes suggest other possibilities and the images merge in an out of the traditional form of a cyan photograph and sometimes, patina and gesture will suggest more painterly surfaces. As a class, we’ll investigate the subtle washes as well as, bold techniques with brushes and heavy applications. This is an exciting process with potential for bold images and new realities.

Large format film negatives, paper negs, digital negatives all work. I will demonstrate all techniques, chemistry preparation, papers, brush applications will be thoroughly covered and practiced.

Instructor Bios:
Brenton Hamilton holds his MFA in photography from the Savannah College of Art & Design. He is the Certificate Program Director of photography at Maine Media College and for 18 years has lead summer workshops in Maine. Brenton's own work is inspired by the 19th century and has become a principle area of research and inspiration both as a historian and a printmaker. Devoted to the cyanotype & gum bichromate, Brenton’s embellished images are exhibited nationally: East Coast; at Susan Maasch Fine Art in Portland, Maine and West Coast; at TILT Gallery in Phoenix, AZ.

Instructor’s work: www.brentonhamiltonstudio.net

CAP/ICP*: Introduction to Bromoil Printing with Joy Goldkind
Date: Saturday & Sunday, November 6 & 7
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30 Street NY, NY 10016
Price: $430
Registration Form

Joy Goldkind was 50 years old before she took her first photography class, though her background was always based in the fine arts. Despite an unusually late start, Goldkinds career as a fine arts photographer has progressed rather rapidly. Her photographs of nude dancers, geishas, drag queens, ballerinas, circus performers, etc. have not gone unnoticed. Her subjects are soft in contrast yet strong in spirit. Sometimes inspired from a fantasy world. The use of double exposures and slow shutter speeds help Joy to change what is true and expected into a more surrealistic scene. The old world beauty and quality they possess is in no doubt influenced by a deep interest in art history. With the use of the historic Bromoil process as a tool to express her fine art portraits, Joy adds a layer of mystery to her photographs.

The Bromoil process is a printing method that was very popular in the early 1900s. Bromoil was favored by pictorial photographers who used it to add a more artistic rendering to their work. The Bromoil process begins by bleaching a black and white silver gelatin print to remove the silver. Lithograph ink is then applied with a brush or roller to replace the silver in the print. Any color or combination of colors can be used. Each piece is individually inked by hand; therefore no two prints are identical.

Instructor Bio:
Joy Goldkind currently resides in St. James, NY. She graduated from the Fashion Institute of Technology, NYC in 1963. She has exhibited in numerous locations across the country. She had a solo show at the Museo Nationale Della Fotographia in Italy, where a permanent collection of her work is now housed. In 2007 she won the cover contest of Eyemazing Magazine and in 2008 her photos where selected in the top 50 photographers at Photolucida. The work is now being shown in Madrid Spain Her photography is also included in corporate collections in NYC, as well as in private collections across the globe.

Goldkind’s photographs have graced the covers of international publications and magazines such as SilverShotz and Eyemazing. Her work has also been featured in the New York Times, B&W Magazine, Zoom Magazine, Photolife and View Camera Magazine. In 2010 her work will be published in Color Magazine.

CAP/ICP*: Architecture and the Alternative Image Artist Lecture with Bryan Whitney
Date: Tuesday, November 9
Time: 7:00pm – 8:30pm
Location: 36 East 30 Street NY, NY 10016
Price: Free
Registration Form

Architecture and the Alternative Image: photographer and installation artist Bryan Whitney presents work that transforms architectural space.

Whitney has integrated architecture into his work for more than two decades. The subject of his work has ranged from Russian Constructivism to Burmese Temples, from series focussing on Communication Towers to "Obscure Structures". Recently he has created a number of site specific installations in architectural spaces. Whitney will talk about his use of zone plate photography, stereoscopic imaging and X-rays to create personal and evocative images.

Instructor Bio:
After graduating from the Tyler School of Art, Bryan Whitney received a Fulbright Lecture grant in Eastern Europe. He has photographed for The Metropolitan Museum of Art, The World Monuments Fund, the NY Times, Fortune, Art and Antiques, Wired and others. He currently teaches photography at Rutgers University and exhibits his work when the space fits.

CAP/ICP*: Antique Lens Discussion with Geoffrey Berliner & Eric Taubman
Date: Saturday, November 13
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30 Street NY, NY 10016
Price: $290
Registration Form

In this seminar, we will discuss lenses and the uses of various designs of 19th-Century brass lenses and early 20th-Century Pictorial, Special Effect, and Soft Focus lenses, especially as they pertain to alternative photographic processes. Various formats will be covered and appropriate focal length lenses for large format shooting will be described. Participants will leave knowing how to figure out what size film or plate a particular lens will cover. Participants will learn how to differentiate between lens designs such as the Petzval, Rapid Rectilinear, Wide Angle Globe, and soft focus lenses of the 20th century such as Pinkham & Smith, Struss Pictoral, and Verito. We will discuss how lens design effects the characteristics of the final image and how best to employ different lenses. Many antique lenses will be available for examination and for handling. Please feel free to bring in your lens for identification and suggested application for format, etc.

Instructor Bios:
Geoffrey Berliner has been taking pictures and collecting antique photographic images and equipment for over 20 years. He is currently the Director of the Center for Alternative Photography.

Eric Taubman has been a Wet Plate Collodion practitioner for over twelve years. He has taught numerous tintype and ambrotype workshops and specializes in the history of early 19th Century photographic optics, chemistry, and cameras. Taubman's own wet plate images range in size from ¼-plate to 20"x 24" plates. His work was featured in the Spring 2006 issue of View Camera Magazine. Over the past thirty years Taubman has been involved in the New York City photography scene as a fine art black and white printer, lab owner, teacher, and artist.

CAP/ICP*: Into The Ether: Introduction to Wet Plate Collodion with Joni Sternbach
Date: Saturday & Sunday, November 13 & 14
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30 Street NY, NY 10016
Price: $430 + $40 (materials fee)
Registration Form

This two day hands-on workshop is an introduction to the wet plate process.

Immediate, hand-made and practiced in the 19th century by photographers such as Timothy O’Sullivan, Edward Muybridge and Julia Margaret Cameron, this class contextualizes the process in today’s changing photographic climate.

Students will learn the basics of how to pour collodion to make positives (ambrotypes and tintypes) and glass negatives. Working in small groups with reproduction cameras and vintage brass lenses, they will be guided step by step in how to make these unique and instantaneous photographs.

All materials are supplied.

Instructor Bio:
Joni Sternbach uses early photographic processes to create contemporary landscapes and seascapes. Her photography has taken her to some of the most remote deserts in the American West to some of the most prized surf beaches on both coasts.

Sternbach is an artist and educator and has taught at various institutions for many years. Her series, SurfLand, captures portraits of surfers in tintype, and was shown at the Peabody Essex Museum in Salem, Massachusetts, in 2009.

Sternbach’s first monograph, SurfLand, was published in May 2009 by photolucida.

Her work is part of many public collections including the Museum of Photographic Arts in San Diego, CA and the Museum of Fine Arts, Houston. She is the recipient of several grants including NYFA and CAPS.

Instructor’s work: www.jonisternbach.com

Sternbach is represented by Joseph Bellows in La Jolla, CA, and Edward Cella Art and Architecture in Los Angeles, CA, and Kenise Barnes in Larchmont, New York.

CAP/ICP*: Platinum Printing with Carl Weese
Date: Saturday & Sunday, November 20 & 21
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30 Street NY, NY 10016
Price: $430
Registration Form

In this course, participants will learn to make photographs by direct contact printing with Platinum and Palladium emulsions using a coherent, unified approach from shooting to final print. This introductory workshop will give an overview of the process beginning with the visualization of pictures for the platinum process, exposure and development to create a suitable negative and the procedures for hand coating, exposing and processing platinum prints. Participants will follow the entire process from subject selection to creation of their own final prints. Students will finish the weekend with a basic understanding and experience of the process, ready to improve their skills through practice on their own or in later workshops.

Instructor Bio:
Carl Weese was born in 1949 and grew up in New Jersey. From 1972 to the present, Weese has worked as a freelance photo-illustrator for editorial and corporate clients. His personal photographs have been widely exhibited in group and one-person shows and he is represented by galleries in Massachusetts, Connecticut, Washington and Virginia. He is co-author of the 1998 book The New Platinum Print, an instruction manual on modern approaches to the classic platinum/palladium photographic printing process.

Instructor’s work: www.carlweese.com

CAP: Introduction to Wet Plate Collodion Printing with Keliy Anderson-Staley
Date: Saturday & Sunday, December 4 & 5
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30 Street NY, NY 10016
Price: $430 + $40 (materials fee)
Registration Form

This printing workshop is for photographers and artists who have shot a lot of great images with film or digital cameras and want to see how their images would look as tintypes or ambrotypes. The class will not be a shooting class, rather, we will cover the entire process of printing from slides, chromes and digital positive transparencies onto wet plate collodion tintypes and ambrotypes in the darkroom. We will use conventional black and white enlargers to print positive images onto blackened metal or glass. Students will make the glass and metal light sensitive by coating it with collodion and silver nitrate. Prints will be developed immediately after exposing with an enlarger. Participants who have used the wet plate process in camera will be well prepared for this class, but we also welcome photographers who have not yet experimented with the wet plate collodion processes or who have not been in a darkroom for years. Everyone in the workshop will be able to print multiple images on a variety of plate sizes, up to 8x10". Registrants are asked to bring in 35 mm to 4x5 slides, chromes, or positive images printed onto inkjet negative film such as Pictorico or Inkpress brands. All other materials will be provided.

Instructor Bio:
Keliy Anderson-Staley has worked with the nineteenth-century wet plate collodion process for over five years. She received a BA from Hampshire College, in Amherst, MA, and an MFA from Hunter College, in NYC. She has taught the tintype process at The Center for Alternative Photography in NYC, at Hampshire College and at Bowdoin College, Brunswick, ME. She was a 2008 New York Foundation for the Arts Photography Fellow and she was in the A.I.M. 28 program at the Bronx Museum of the Arts. Her tintypes have been published in New York Magazine her work and is currently being exhibited in California, Massachusetts, Maine, New York, North Carolina, and Texas.

Instructor’s work: www.andersonstaley.com

CAP/ICP*: Artist Lecture with Dan Estabrook
Date: Tuesday, December 7
Time: 7:00pm – 8:30pm
Location: 36 East 30 Street NY, NY 10016
Price: Free
Registration Form

Dan Estabrook will speak about his long exploration of historical processes, as an artist not seeking to revisit the past but to look at it from a 21st-Century perspective. The history he evokes in his work is a false one, meant to illuminate our present fears, fantasies and desires.

Instructor Bio:
For almost twenty years, Dan Estabrook has been making contemporary art using a variety of 19th-century photographic techniques. Lately he has focused on the earliest processes on paper – calotype negatives and salted paper prints – as sources for hand manipulation with paint and pencil. He balances his interests in photography and design with forays into sculpture, painting, drawing and other works.

Dan has exhibited widely and has received several awards, including an Artist's Fellowship from the National Endowment of the Arts in 1994. He is also the subject of a recent documentary by Anthropy Arts. He is represented by the Catherine Edelman Gallery in Chicago, Daniel Cooney Fine Art in New York and Jackson Fine Art in Atlanta.

CAP/ICP*: Introduction to Carbon Printing with Lisa Elmaleh
Date: Saturday & Sunday, December 11 & 12
Time: 10:00am – 6:00pm (1 hour lunch)
Location: 36 East 30 Street NY, NY 10016
Price: $430
Registration Form

"During the entire period of its history," states Sandy King in The Book of Carbon and Carbro, "carbon was considered the aristocrat of printing processes." This class is a thorough introduction to the delightfully versatile carbon printing process, developed in 1855. The carbon process allows the printer to print in a variety of colors, tones, and on many different surfaces. Students learn how to make carbon tissues from gelatin, glycerin, sugar, and watercolor pigment. The carbon tissue is sensitized and exposed under a U.V. light source, then transferred to a base. Unexposed areas are washed away in warm water to reveal the base, leaving a raised exposed image. The raised texture of the exposed image is a unique quality of the carbon print. Students should bring large format or digital negatives for contact printing.

Instructor Bio:
Lisa Elmaleh is a large format photographer whose current work is an exploration of the landscape of the Everglades. As a native of South Florida, the Everglades were an essential part of her personal history. Using a portable darkroom in the trunk of her car, Elmaleh photographs using the nineteenth century wet collodion process. Elmaleh received the Silas Rhodes scholarship to attend the School of Visual Arts, and obtained a BFA with honors. She is a recipient of the Tierney Fellowship, the Everglades Artist Residency, the Camera Club of New York Darkroom Residency, and the Goldwell Artist Residency. She has been included in various group shows such as the 2008 New York Photofest (Powerhouse) and Landscape: Voyage (KMR Arts).

Instructor’s work: www.lisaelmaleh.com

*The Center for Alternative Photography is pleased to announce our partnership with the International Center of Photography. The workshops that have CAP/ICP next to the description are workshops that will appear in the Fall ICP catalog. We are looking forward to working with the ICP and to our continuing collaboration.

Private tutorials are available upon request.