ÿþ<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN" "http://www.w3.org/TR/html4/loose.dtd"> <html> <head> <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1"> <title>Christopher James | Teaching &amp; Workshops | Workshops</title> <style type="text/css"> <!-- body { background-color: #333333; } --> </style> </head> <body> <table width="800" border="0" cellspacing="0" cellpadding="0"> <tr> <td width="200" bgcolor="#333333">&nbsp;</td> <td bgcolor="#333333"><a href="../index.html"><img src="../materials/Headers/ReturnToHome600.png" width="600" height="30" border="0"></a></td> </tr> <tr> <td width="200" align="center" valign="middle" bgcolor="#333333">&nbsp;</td> <td align="center" valign="middle" bgcolor="#333333"><img src="../materials/Headers/AboutSmall.png" width="85" height="40" border="0" usemap="#Map6"><img src="../materials/Headers/PhotoSmall.png" width="85" height="40" border="0" usemap="#Map7"><img src="../materials/Headers/PaintingSmall.png" width="85" height="40" border="0" usemap="#Map8"><img src="../materials/Headers/TheBookSmall.png" width="85" height="40" border="0" usemap="#Map9"><img src="../materials/Headers/WritingSmall.png" width="85" height="40" border="0" usemap="#Map10"><img src="../materials/Headers/TeachingSmall.png" width="85" height="40" border="0" usemap="#Map11"><img src="../materials/Headers/ContactSmall.png" width="85" height="40" border="0" usemap="#Map12"></td> </tr> <tr> <td width="200" valign="top" bgcolor="#333333"><p></p><img src="../materials/TEACHING_WORKSHOPS/Workshopsheader.png" width="200" height="35" border="0" usemap="#Map16"><br> <img src="../materials/TEACHING_WORKSHOPS/links.png" width="200" height="35" border="0" usemap="#Map13"> <img src="../materials/TEACHING_WORKSHOPS/AIBheader.png" width="200" height="35" border="0" usemap="#Map17"><img src="../materials/TEACHING_WORKSHOPS/Aboutheader.png" width="200" height="35" border="0" usemap="#Map14"><br> <a href="teachingaibccf.html"><img src="../materials/TEACHING_WORKSHOPS/PhotoAtAIBheader.png" width="200" height="35" border="0"><br> <img src="../materials/TEACHING_WORKSHOPS/AIBccfheader.png" width="200" height="70" border="0"> </a> <br> <a href="teachingaibmfa.html"><img src="mfalink.jpg" width="200" height="70" border="0"></a> </p> </td> <td align="center" valign="top" bgcolor="#CCCCCC"><table width="600" border="0" cellspacing="0" cellpadding="0"> <tr> <td><img src="../materials/Headers/Workshops600.png" width="600" height="50"></td> </tr> </table> <br> <table width="550" border="0" cellspacing="0" cellpadding="0"> <tr> <td><p> Christopher James<br> Director M.F.A. Program in Photography<br> Department Chair / Photography<br> The Art Institute of Boston at Lesley University<br> 700 Beacon Street<br> Boston, MA 02215<br> 800-773-0494 X 6684<br> </p> <p align="center"><strong>SUMMER WORKSHOPS - 2012</strong></p> <p><center><strong>______________________________________________________</strong></center></p> A brief heads up regarding my current plans for the summer workshop season. At the moment I am planning on spending the summer working on the 3rd edition of The Book of Alternative Photographic Processes & . A 850 page / 550 image beast that I have had precious little time to attend to this year. I am limiting my summer to a three-week sequence at The Santa Fe Photographic Workshops (www.santafeworkshops.com), beginning June 24th and going through July 13th, and a weekend Gum Bichromate workshop at the Center for Photography at Woodstock (www.cpw.org). Presently, my part of the line SFW line up looks like this: </strong></p> <center><img src="summerworkshop.jpg"><br> © Christopher James, Rebecca & Wisteria 9-1-2010 (wet plate collodion)</center> <br><br> <strong> SANTA FE WORKSHOPS: <br> <a href="www.santafeworkshops.com">santafeworkshops.com</a> </strong><br><br> <strong>Week I - June 24  June 29<br> Introduction to Alternative Photographic Processes</strong><br> Basically, we ll cover most of the processes my book, usually 9-10 processes in a week, except for wet plate collodion, carbon, and a few other esoteric techniques. If you have experienced this intensive overview you are more than welcome to come back and refresh your alt pro batteries and techniques. This is a perfect workshop to pair with Week II or Week III. Here s a basic course description:<br><br> Participants in this hands-on, group learning experience will investigate and experiment with an extensive menu of alternative photographic process techniques. Christopher's alternative process workshops are always a lot of fun and are geared for creative people in all disciplines (especially those with a sense of humor) who wish to "jump start" their artistic energies or add to their artistic "tool-box." This workshop s goal is to inspire new directions, new options, and new energy for each participant s unique vision and artistic development. Among the processes students will work with are: cyanotype, cyanotype on fabrics, salted paper process, kallitype, argyrotype, albumen, platinum & palladium, Ziatype, gum bichromate, & as well as multi-process combinations and toning options. Other topics include: large format pinhole photography, digital negative separations for contact printing, hand- applied emulsions on alternative surfaces, and the Lazertran process. Students will also have a complete digital negative production set-up in the lab facility for producing contact negatives. While most printing will be done in the sun, UV exposure units will be available for printing on the rare cloudy or rainy day. This workshop is ideal for anyone with a curiosity for historical processes or for those looking for a series of processes that will suit their creative intentions. I ve had all ages attend, from 15 to 85, and it always a lot of fun, so please bring your sense of humor. <br><br> My book, The Book of Alternative Photographic Processes: 2nd Edition, will be the text for the workshop and a letter with specific recommendations will be sent to all participants prior to the workshop. For those looking for a full alt pro experience, consider combining this workshop with the Wet Collodion Workshop, or the Alternative Process: Projects Workshop, in the following weeks. A letter with specific recommendations will be sent prior to the workshop. <br><br><hr><br><br> <strong>Week II - July 1  July 6<br> Wet Plate Collodion Workshop</strong><br> A full week dedicated to wet plate collodion and going on the road as a rolling wet collodion road show for day long excursions into the New Mexico landscape and culture. Last year included a movie set where over 100 westerns had been filmed. This year we are planning to do an overnight trip to a special location in New Mexico or Colorado. Class size will be limited to 12 and will likely fill very quickly based on requests and current reservations. If you are interested, don t hesitate to call and reserve a spot. We will focus on creating tintypes during this week because it is more fun and far easier to fine-tune your technique on metal than glass. This workshop is going to feature some special guests and is going to be a blast! <br><br> We will begin the week with a lab / studio day to make sure that everyone is comfortable and up to speed on wet plate chemistry, technique, and view camera operation and exposure. Then we hit the road with ice fishing tents for portable labs and red lens caver s head-lamps for safelights. The weather is generally outstanding at this time of year, with the occasional dramatic afternoon thunderstorm. I will be bringing 3-5 large format wet plate cameras and I am sure others in the workshop will also have theirs with them as well. If you have a large format camera and wish to modify a holder or two before the workshop, I will put you in touch with Niles Lund (www.lundphotographics.com) who does quick and excellent plate-holder modifications out of existing large format film backs. I can also help you find a camera or modify an existing one. A letter with specific recommendations will be sent prior to the workshop. <br><br><hr><br><br> <strong>Week III: July 8  July 13<br> Alternative Processes: Projects Workshop <i>(including wet plate collodion)</i> </strong><br> This will be a workshop for those who want to work on a specific portfolio or project based idea in alt processes, i.e., an artist's book, gum bichromate, wet plate collodion on glass - for negatives or ambrotypes, fine tuning a technique such as fumed silica albumen, etc. The workshop is designed to provide uninterrupted studio work time, dedicated lab space, and materials with which to refine skills and focus energies on a specific project or technique. There will be dedicated one-on-one portfolio conversations and critique during this workshop so please be sure to bring your portfolio, or a reasonable digital version of it, with you. <br><br> Along with a dedicated wet plate collodion set up, we ll also be set up to do advanced, and extended, work in Ziatype, albumen, salted paper, gum, platinum / palladium, tintypes, kallitype, and other processes that fit your specific needs. This workshop's structure and activity will be built around the individual and might be an excellent workshop to pair with Week II as it allow you to continue working with wet collodion or formalize your efforts into a finished portfolio. <br><br> Participants receive continual assistance and immediate feedback on works in progress, along with an open exchange of working concepts, ideas, history, and techniques. Individual process demonstrations are given on request, if there is a technique you ve always wanted to learn, or if you need a refresher. We also have a digital negative production set-up in the facility. While most of our printing is done in the sun, UV exposure units are available for printing at night or on rainy days. As always, this workshop will be a lot of fun & bring your sense of humor. A letter, with specific recommendations on what to bring, will be sent to all participants prior to the workshop. <br><br><hr><br><br> <strong>August 18 & 19<br> A Gum Bichromate Weekend Workshop<br> CENTER FOR PHOTOGRAPHY AT WOODSTOCK<br> Woodstock, New York<br> </strong><br> <center><img src="woodstock.jpg"><br>© Christopher James, John Q  2005 #3 - (Cyan & gum bichromate)</center><br><br> <a href="www.cpw.org">cpw.org</a> At the present time I am making plans to teach a weekend Gum Bichromate Workshop that will be just enough time to work with all of the materials and discuss everything you will need to know to begin your adventure into this captivating and beautiful process that was initially realized in the late 1700 s and refined in the 1830 s. <br><br> Gum printing is ridiculously seductive, due to its limited chemistry, simple water development, unlimited color potential with watercolors of the artist s choice, and its flexible ability to be coupled with a wide range of other alternative, painterly, and graphic arts techniques. I think of gum as the photographic ambassador to the fine arts. Because of its pigment and substrate options, and brush application, gum bichromate printing is one of the few photographic processes capable of achieving that wonderful element of gesture - gesture being the evidence of painterly expression, of the artist s hand, in the creation of a mark. <br><br> To make a gum bichromate print, the artist creates a sensitizer consisting of high-grade gum arabic, a quality watercolor paint, and ammonium or potassium dichromate that serves as its light sensitive  trigger. This sensitizer solution is applied to a printmaking or watercolor paper, dried, inserted into a contact-printing frame along with the negative, and exposed to UV light. During exposure, the sensitizer will become proportionately insoluble to the degree of exposure and levels of density in the contact negative. Portions of the sensitized paper that are not well exposed to UV light will remain soluble in water and wash out. <br><br> Following exposure, the print is  developed by floating in water. The unexposed, or lightly exposed, areas of the print dissolve in the water bath while the well exposed / insoluble portions remain on the paper. Following the drying stage, additional sensitized coatings, in the artist s choice of colors, can be applied, exposed, and processed in the identical manner. This allows for a vast array of colors and an unlimited potential for creative expression. <br><br> I will send out instructions for making digital and film negatives and recommendations for materials to bring with you. </tr> </table> <p align="center">&nbsp;</p> <p align="left">&nbsp;</p> </td> </tr> <tr> <td width="200" bgcolor="#333333">&nbsp;</td> <td width="600" align="center" valign="middle"><img src="../materials/copyright.png" width="600" height="15"></td> </tr> </table> <map name="Map"> <area shape="rect" coords="1,1,99,270" href="plastic.html"> </map> <map name="Map2"> <area shape="rect" coords="1,1,108,272" href="India.html"> </map> <map name="Map3"> <area shape="rect" coords="1,1,103,276" href="altpro.html"> </map> <map name="Map4"> <area shape="rect" coords="2,1,102,269" href="Archive.html"> </map> <map name="Map5"> <area shape="rect" coords="1,1,102,273" href="Recent.html"> </map> <map name="Map6"> <area shape="rect" coords="23,12,61,29" href="About.html"> </map> <map name="Map7"> <area shape="rect" coords="4,13,82,28" href="photo.html"> </map> <map name="Map8"> <area shape="rect" coords="16,12,69,28" href="painting.html"> </map> <map name="Map9"> <area shape="rect" coords="4,2,81,40" href="thebook.html"> </map> <map name="Map10"> <area shape="rect" coords="17,12,68,29" href="writing.html"> </map> <map name="Map11"> <area shape="rect" coords="9,7,74,33" href="teaching.html"> </map> <map name="Map12"> <area shape="rect" coords="16,11,69,30" href="contact.html"> </map> <map name="Map14"> <area shape="rect" coords="51,7,149,29" href="teachingabout.html"> </map> <map name="Map16"> <area shape="rect" coords="13,4,188,31" href="Workshops.html"> </map> <map name="Map17"> <area shape="rect" coords="70,5,128,31" href="teachingaib.html"> </map> <map name="Map13"> <area shape="rect" coords="58,1,142,35" href="teachinglinks.html"> </map> </body> </html>