Wet-collodion photographic Workshop with Photographer and multimedia artist Tomasz Madajczak.
Saturday 21 September
11.00 am to 4.00 pm
Fee: €65 (including materials, gloves and goggles). Please bring old clothes. The duration of the workshop 4 - 6 hours (with a lunch break).
The maximum number of places 6 (booking and deposit essential to secure your place). Bookings on 02822090 or email@example.com
email: firstname.lastname@example.org for any queries
During the workshop, the participants will have a chance to create their own, unique 8x10" collodion image, to take home. This will involve sensitizing the plate with liquid collodion, capturing the image using 8x10 large format Wehman field camera, developing and fixing of the plate. The collodion will be done on black aluminum in a process called tintype - A tintype, also known as a melainotype or ferrotype, is a photograph made by creating a direct positive on a thin sheet of metal coated with a dark lacquer or enamel and used as the support for the photographic emulsion. Tintypes enjoyed their widest use during the 1860s and 1870s, but lesser use of the medium persisted into the early 20th century and it has been revived as a novelty and fine art form in the 21st.
Here is some short information about the process:
The wet-collodion process, also called collodion process, an early photographic technique invented by Englishman Frederick Scott Archer in 1851. The process involved adding a soluble iodide to a solution of collodion (cellulose nitrate) and coating a glass plate with the mixture.
Collodion process, mostly synonymous with the "collodion wet plate process", requires the photographic material to be coated, sensitized, exposed and developed within the span of about fifteen minutes, necessitating a portable darkroom for use in the field. Collodion is normally used in its wet form, but can also be used in humid ("preserved") or dry form, at the cost of greatly increased exposure time. The latter made the dry form unsuitable for the usual portraiture work of most professional photographers of the 19th century. The use of the dry form was therefore mostly confined to landscape photography and other special applications where minutes-long exposure times were tolerable