Week 5 Week 4 Week 3 1 Night Week 2 Week 1

June 28 –July 3 June 21-26 June 14-19 June 12 June 8-12 June 1-5 2015 2015 2015 2015 2015 2015

* * * * * * * demo/discussion demo/discussion demo/discussion Chemigrams Negs/Kallitype Lumens Lumens Negs/Kallitype MichellePritzl June11th& 12thBromoil CynthiaHuberJune9th&10th RayNelsonJune8th-Digital -June5th–discussion/demo CarolHeer -June4th-discussion/demo CarolHeer RayNelson-June1st;2ndDigital Jane Goff-June3rd-hand tintingdemo Wet PlateCollodion Gustavo Castilla The GumPlatinum Print Re Discovering Michelle Pritz Kerik Kouklis Ether Dreams Trapper Peak Wine Tasting Digital Negs Varied Artist Varied Artist Varied Artist Like Minded Like Minded Like Minded Like Minded 1 Night only Keith Smith Open House Open House Open House Open House Using QTR & Making 1 1 Printing st st Gumoil Week 1 Week 2 Annual Annual with with with with

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Week 11 Wee k 10 Week 9 Week 8 Week 7 Week 6 Workshop DetailsandPricingInfoonthe Treat yourself toafa August 16-21 August 9-14 August 2-7 July 19-24 July 12-17 July 5-10 Choose theworkshop iconorplease call 2014 2015 2015 2015 2015 2015 www.workshopsinmt.com Contemporary Approach 800-922-5255 “Waxing theBlues” Photos Beyond The ZoneBeyond The Photo Encaustic Laura Blac Anna Tomczak Anna Tomczak website website Steve Sherman Jerry Spagnoli Power ofPyro Many Forms Allan King Jane Goffe Cyanotype Processing Creative And it’s BTZ’S- Tinting

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June 14 - 19, 2015

Gumoil Printing

With Michelle Pritzl

Gumoil is a labor intensive process that takes several days to hand craft a print. The Gumoil process uses a positive transparency instead of a to create a unique, handmade image. Gum arabic and potassium dichromate are brushed onto paper and exposed, hardening the gum arabic. The paper is washed, leaving a light negative image. Oil paint is rubbed into the surface of the paper and rubbed away to create a positive image, and then prints are placed into a bleach bath to etch away gum arabic and allow for additional tonal separation and the addition of . The final image is a textured, unique image that can be monochromatic or duotone.

Bring many images to work with, digital or analogue, the more the better. The workshop will cover everything from your enlarged positive transparencies to the finished print, and you will finish both monochrome and duotone prints as well as experiment with different sizes.

Tuition: $795.00

Biography: Michelle Rogers Pritzl studied at the Corcoran College of Art and Design, where she graduated in 2001. Michelle holds a MA in Art Education from California State University, where she completed her thesis researching the effects of art therapy on the self esteem of children living in orphanages in Eastern Europe. She is a MFA candidate at the Art Institute of Boston where she studies with Christopher James. She has exhibited at the Panopticon Gallery, Center for Fine Art Photography, New Orleans Photo Alliance, Minneapolis Photo Center, and Lightbox Gallery, and internationally. Her work has won acclaim from the International Photography Awards, Prix De La Photographie Paris, B&W Magazine, Lumen, Diffusion and Color magazine. Michelle works with film and alternative processes, including Gumoil, kallitype, gum bichromate, lumen and wet collodion. June 21 – 26, 2015 Rediscovering Ether Dreams Wet Plate Collodion with Gustavo Castilla

The Wet Collodion Process was invented in the mid-1850’s by Frederick Scott Archer. In this workshop participants will explore one of the earliest photographic processes. A continuous tone image making and printing, You’ll learn how to make "a light sensitive emulsion" that can be used to create a "positive" or a negative. As part of the workshop we’ll study the mixing of chemistry, , tools required, printing basics and some experimental uses of the wet collodion process. Join us for this fun and adventurous workshop and get in touch with what pioneers of photography had to contend with in order to make their . The workshop will go quickly as you learn to prepare chemistry, and to expose and develop plates. Before the workshop is over we’ll be making images together!

Tuition: $795.00 Biography: I work using traditional tools and methods dating from the mid-1800's to modern . Wet plate collodion and film produce both negatives and positives that I use for a number of historic and/or alternative printing processes. My are that range from 2X3 to 10X20; circa mid-1800 to modern, some I made my self. Because of the “hand made” nature of my printmaking, no two prints are identical. I began creating photographs in Mexico City when I was ten years old and have had a passion for photography ever since. As a small boy I was intrigued by the photographic process and by my late teens I was honing my craft, attending workshops and working at a small advertising agency. My work was first published while I was working at a Mexico City newspaper, where I also wrote a column about music. After relocating to Los Angeles, I studied cinematography at Columbia College in Hollywood, and ventured into the arena of celebrity photography. My images have been published in various magazines such as Time, ¡Hola!, and Figaro. I continued my photography studies and earned a certificate in Graphic Design with a specialization in Digital Imaging. After earning my certificate, I produced a wide range of work in the areas of portraiture, editorial, social, and event photography, developing a particular interest in both still life and environmental portraiture. I am currently living and pursuing my photographic work in Santa Fe, NM. My work has gained recognition at: 2009 The International Photography Awards (IPA) Honorable Mention 2008 The Pilsner Urquell International Photography Awards (IPA) Honorable Mentions in the categories of Fine Art Nude and Fine Art Portraiture. 2007 The International Photography Awards (IPA)

Honorable Mentions June 28 – July 3, 2015

The Gum-Platinum Print and Making Digital Negatives with QTR

With Kerik Kouklis

During this intensive 5-day workshop you will begin by learning to make high quality digital negatives using the Quad Tone RIP (QTR) program and Epson printers. You will learn how to calibrate and control this powerful tool in an easy and straightforward way. We will then cover in detail the making of fine platinum/palladium prints from the negatives you make during the workshop or from pre- existing large format or digital negatives. The platinum/palladium process is quite easy to learn and Kerik's casual and friendly teaching style will have you making excellent prints almost from the start. Then you will learn to use gum bichromate overprinting to stretch the medium into a new realm. Adding one or more layers of gum bichromate over a platinum print will result in a final print with added depth and richness and endless possibilities of color to enhance the emotional impact of the image. Once mastered, many printers find it difficult to go back to the straight platinum process for their work. While previous experience in any of the alternative processes is helpful, it isn't a prerequisite to attend this workshop. Each student should provide negatives no larger than 8x10 as well as high quality scans or digital files that will be made into digital negatives. You can also scan negatives during the workshop, but this uses up valuable time. Be prepared to take your work in a new direction and never look back. This process is lots of fun and soon becomes addictive. Bring your previous printing skills, but be willing to try new approaches as well.

Tuition: $895.00 Biography: Kerik Kouklis is a fine art photographer drawn to the landscape. Born and raised in California with a background in music and geology, Kerik combines a contemporary eye with 19th century processes to produce work that is uniquely his own. Using digital cameras, cameras and very large view cameras, he often explores obscure, little- known places where he makes images that can be at once calm and unsettling. Kerik has become highly skilled and respected practitioner of the platinum/palladium process and the combined gum-platinum process. For the past 5 years he has also incorporated the wet plate collodion process in his work. Kerik has been teaching workshops in these processes since 1997, both in his home studio and at various locations around the US, Canada and the UK. His work is currently represented by galleries and by art dealers in California, Connecticut and New York.

Visit Kerik Kouklis’s Website July 5 - 10, 2015

Creative Hand Tinting

With Jane Goffe

Since the earliest days of photography, people have been handcoloring their photographs. Originally, the motive was to add realism to photographs. As color film was developed, handcoloring nearly disappeared. But today, instead of disappearing, handcoloring has become a new art form of its own. No longer is its purpose purely to show the world as it is, but a creative tool to transform images into one of a kind pieces of art.

Handcoloring, or hand tinting, is a wonderful way to express your creativity. During this workshop you will be creating original works of art from your own black and white photographs. Starting with either a black and white or a black and white digital print, you will learn how to apply color using photo oils, pastels and pencils. You will learn about the various mediums available for creating darkroom prints usable for hand tinting as well as making suitable digital prints.

Don’t have a film camera or darkroom? Color or black and white digital files from your work just as well. Do you have negatives, but no way to transfer it to paper? The Formulary can scan your negative and prepare a print for you, or create a from your film negative.

During this workshop we will also be creating lumen prints to hand tint. A lumen print is a way to take a picture without a camera. By carefully placing objects (flowers and grasses are favorites) on top of unexposed darkroom papers, then placing them in the sun to expose them, beautiful delicate color images are created using black and white papers. These prints can then be hand tinted, adding another layer of complexity to the print. Truly one of kind works of art! This workshop is a great way to blend the old with the new. We’ll do a bit of darkroom, a bit of digital and a lot of coloring by hand.

Tuition: $795.00

Biography: Jane Goffe is a Montana based photographer, specializing in traditional black and white fine art photography and 19th century photographic processes with a contemporary take. She feels very strongly about keeping these processes alive, that something irreplaceable will be lost if they are allowed to slip away. Her work can be found at select galleries and regional fine art shows. To see her work visit www.janegoffe.com July 12 – 17, 2015

Cyanotype and It’s Many Forms

With Laura Blacklow

The pliable, inexpensive, and hassle-free blueprint process can stand alone with its deep hues, be toned to other , used with gum bichromate printing, and combined with van dyke brown printing. Learn to make contact-size digital negatives from your images, or use materials to make straight and manipulated blueprints on artist’s rag paper, silk, or cotton fabric. You can create prints or pages for a book, make fabric to later be used in clothing or quilting. Once you master the technique, the possibilities are endless and the equipment minimal.

Tuition: $795.00

Biography: Laura Blacklow, author of New Dimensions in Photo Processes, A Step-by-Step Manual for Alternative Techniques (Focal Press, 4th edition, 2007) is a knowledgeable teacher who is on the faculty of the School of the Boston Museum of Fine Arts. She has also taught at the Massachusetts Institute of Technology and Harvard University. Ms. Blacklow was the recipient of a National Endowment for the Arts Regional Fellowship for works on paper, the St. Botolph Club's Morton C. Bradley Award in Color, and the Massachusetts Artists' Foundation Fellowship for her hand- colored black and white photographs. Visit her website at www.lblacklow.com July 19 - 24, 2015

Waxing the Blues Cyanotype (Blue Print) Photos And Photo Encaustic

With Anna Tomczak

Cyanotype printing is simple, and one of the oldest photographic techniques still available. Learn this photographic process using paint-on light sensitive royal blue emulsion. Smooth surface papers and cloth are coated with the emulsion, dried and exposed in the sun or UV light and then simply developed in water. Surface treatments will be introduced such as coating with wax and hand painting with pencils and encaustic. The workshop will emphasize the photographic image, but is not limited to this and will include other modes of expression such as drawing, poetry, text, collage and illustrations. This process can be continued at home without expensive equipment, and it can be combined with other mediums. Further information and a list of materials will be sent upon registration. Cyanotype Chemistry and Wax will be provided.

Tuition: $795.00

Biography: Anna Tomczak is a fine art photographer. Anna’s work is in the collections of the Brooklyn, Harn and Norton Museums, the Museum of Florida Art, Sony Latin-America, McGraw-Hill, and other corporate and private collections. Artist awards: FL Individual Artist Fellowship; Escape to Create Fellowship; Polaroid Artist Support; Loft Nota Bene, Spain; ACA Cultural Exchange at La Napoule Arts Foundation, France. Her recent Exhibition and Monograph: Sanctuary, Anna Tomczak, Photography, was curated and accompanied with an essay by Barbara Hitchcock. Sanctuary was a traveling exhibition organized by the Museum of Florida Art. Anna’s work is featured in Georgia Review, , Camera Arts, Polaroid Manipulations, Photo Portfolio Success, Digital Photo Art, and Picturing Florida, by Fresco Publications. Anna Tomczak teaches workshops in Florida and various university, museum and studio classrooms throughout the US, Italy and Spain. Her work in alternative processes has been widely exhibited and will be shown at the Appleton Museum of Art from Sept. 16 – Nov.4, 2012. Her recent book, SANCTUARY, was printed in Turin, Italy. www.annatomczak.com [email protected] August 2 – 7, 2015

Daguerreotype: A Contemporary Approach

With Jerry Spagnoli

The daguerreotype is as much an object to hold in your hand as an image to look into. This class presents a method far producing high quality without the use of the dangerous chemicals usually associated with the process. This method was discovered by Edward Bequerrel in the 1840's and has existed as a scientific curiosity until now. It is a process, which is very simple in its parts but full of subtle techniques. We will cover everything from how to manufacture daguerreotype plates to finishing and casing the final image we will also cover how to build and maintain the unique equipment necessary for you to continue on your own.

Production of film positives will be presented, for those who wish to use the contact printing method of exposing the plate, and how to modify a conventional for those who wish to expose their plates in a camera. As a finishing touch, you will learn several methods for making cases to hold the finished image.

Tuition: $795.00

Biography: Jerry Spagnoli has worked with photo-based imagery for the past 20 years. For twelve years he has explored the potential of the daguerreotype as an expressive medium. The method he is presenting was developed for the Academy of Art College in San Francisco and has been refined to present a thorough introduction to this unique medium. You can see his work in his new book, "Daguerreotypes", published by Steidl. His work is held in the collections of the Museum of Modern Art, The Art Institute of Chicago, The Oakland Museum, The Chrysler Museum, and The Museum of Fine Arts in Boston, The Fogg Museum, and The National Portrait Gallery.

Visit Jerry Spagnoli’s Website August 9 – 14, 2015

Power of Pyro Film Processing

With Steve Sherman

The first evening of the workshop we’ll get to know each other, show some prints and establish a baseline we can work from. We will begin each of the first two mornings in the field shooting three different contrast challenges, normal contrast negatives will be exposed along with scenes of extreme low contrast and extreme high contrast, the latter two challenges not commonly thought able to yield printable results. The extreme contrast challenges will be the proving ground for Steve’s Pyro workflow. You will learn the characteristics of both Pyrogallol and Pyrocatechin based formulas. Why one is superior in almost every aspect relative to and why it is so important for roll film users. Film will be processed these first two mornings Steve’s philosophy is sharing the fundamentals of why certain techniques work so that students truly can adapt his principles to their own individual workflow. Steve’s approach to teaching is laid back and non-demanding but at the same time every minute of each day is aimed at gaining knowledge and advancing each student’s technique. Semi – Stand & Reduced Agitation techniques will be demonstrated using side-by-side comparisons with traditional film processing methods. Prior to the discovery of this technique altering the film’s “Characteristic Curve” was not possible with Wet Process forms of film development. When Steve’s negative making principles are combined with Reduced Agitation techniques in concert with Split Contrast Printing techniques, Silver prints of extraordinary quality and range result. Steve’s methodology combines selective contrast altering capabilities in concert with traditional wet process materials yielding a Thru Process philosophy not commonly taught in today’s analog world. The final two & half days of the week will be spent learning to Split Contrast print using Multi- Contrast papers. Little known techniques used prior to MC papers are combined with Split Contrast Printing techniques yielding controls for Silver printers never before possible. The final morning of the workshop will be spent Toning for permanence including a demonstration of Split toning, an elusive technique but when mastered extraordinary prints of subtle color and increased permanence result.

Tuition: $795.00

Biography Steve Sherman began his largely self-taught career in photography working for a local commercial / portrait studio in the early 1980's. It was there he learned to use large film cameras and understand how to use light to create a third dimension. By 1984 Sherman grew weary of the restrictive nature of "for hire photography" and turned his focus to the environment and large film cameras using strictly black and white films. Sherman's work has been represented by the Robert Klein Gallery in Boston, the 1st Street Gallery in Florida and most recently exclusively in the United States by the Paul Paletti Gallery, Louisville, KY. Sherman has had numerous one-man shows, his work is in private collections across the US and Canada and has had multiple photographs purchased by the University of Louisville Libraries and Photo Archives. In 2003 after reading Sandy King's article on Pyro developers Sherman set about to find a method to achieve consistent and predictable results with the Semi Stand technique of developing film. Late in 2003 Sherman perfected a workflow and wrote two separate articles for View Camera Magazine in 2004 detailing the possibilities of altering the film’s characteristic curve. Ten years later Pyro developers are in use by more film photographers than ever before, Sherman's modernization of Reduced Agitation forms of film development gave birth to wet process controls never before possible. Film photographers from around the world seek his expertise and advice regarding Reduced Agitation forms of film development with Pyro chemistry. Sherman's ability to manipulate film curves in concert with Split Contrast Printing yields prints of striking sharpness and at the same time tonal subtleties not commonly associated with Silver Gelatin printing. August 16 - 21, 2015

BTZ’S Beyond The

With Allan King

BTZS is a method of film and paper exposure and development that today has evolved to a wide range of applications, from the apps available on cell phones to small hand held devices and notepads. It takes the testing of film and paper into a controlled environment and uses Sensitometry to produce a personalized set of reliable working information that can be used in the field to first get accurate film exposure data and second accurate development data. This testing algorithm yields a very significant time saving for both film and paper. But beyond that, BTZS will allow one to accurately match both film and paper exposure and development to determine exactly what shifts in gradation one will encounter before exposing a single

sheet of paper. Normally one would treat film and paper tests separately, but in BTZS one learns to integrate and interpret the testing procedures by first testing the paper to determine

its contrast characteristics and then tailoring the film test data to match that paper. This is extremely important in platinum printing for example, where materials are

expensive. In addition, while it is generally understood that pyro development produces a stain on the film that confounds many empirical testing procedures, BTZS easily handles

the sensitometric interpretation of the readings through different filters.

Tuition: $795.00

Biography: Dr Allan W King originally took the BTZS workshop from Phil Davis in 1990 and has been using it ever since in all of his work, which is primarily focused on platinum printing with pyro negatives. He has given numerous one-on-one workshops over the last twenty years teaching the BTZS method, and has degrees in Chemistry and Engineering. For more information please see his website www.allanking.ca

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