ONLINE | PRE-RECORDED
Experimental Techniques: Intermediate
Duration: 2 months | Start date: October 7
How do I sign up?
This course is part of the first block of the Diploma in Experimental Photography, a creative journey designed to help you develop your style and take your images to the next level. Here, we explore unconventional processes, creative resources, and techniques that will open up a world of possibilities. The most rewarding part is experiencing it as part of the full Diploma, connecting lessons learned, building experiences, and growing step by step. However, if you only want to focus on this module right now, you can also enroll separately for €125.
To what extent can you reinvent photography with your own hands?
In this intermediate course, we will continue the journey started in the beginner course by exploring new techniques such as anthotype and experimental printing techniques. Additionally, we will deepen our understanding of techniques introduced in the previous course, such as chemigrams or solarigraphy. We will also introduce new creative possibilities with sessions on photographic intervention and dedicate a session to working with Polaroid. The course is designed as a constructive progression where students can advance week by week using pre-recorded materials we will provide (workshops and conferences). Students will never feel alone as they will have access to artists to clarify technical doubts and our chat support to guide them through their learning process.
Techniques
Experimental Printing • Intervened Photography Photographic Embroidery • Pinhole Photography Solargraphy • Analemma • Experimental Polaroid Anthotype • Chlorotype • Lumen • Alchemography Chemigrams
Content
8 Sessions • 12 Techniques • 7 Workshops • 3 Meetings 14 Conferences • 1 Chat for sharing materials and resolving doubts
Check out the full program!
OCTOBER 7 | LIVE | ONLINE | 5-7PM (Spain)
Ágora Presentation Meeting
Meeting: Experimental photography: concepts, debates and techniques with Pablo Giori
Conferences:
• Experimental Darkroom with Christina Z. Anderson
• Espacio/Tiempo en la fotografía experimental con Esteban Pastorino
• Is Experimental Photography a New Apparatus? with Marc Lenot, Célica Veliz, Justin Quinnell, Stig Marlon Weston and Patrice Baunov
• Art and Science with Maciej Zapiór, Alex Kantoros, John Beaver, Felicita Russo and Leandro Tosi
• A Social History of Experimentation: Science, Analog, Digital, and Starting Over with Pablo Giori
October 12
Experimental Printing Techniques
Workshop: Ferric Gum, an alternative to Gum Bichromate from oxidized objects with Lost Processes
Conferences:
• Las imágenes de la tinta con Carles Mitjà.
• Alternative Photography Printing Techniques with Ergül Karagozoglu and GuL Cevikoglu
• Exploraciones en sustratos biodegradables, reciclaje y revelados caseros con Dulce Delia y Javier Piñana
• Climate Crisis and Non-Human Photography: Creating with the Environment with Cendre, Ella Morton and Isabelle Gagné
October 19
Intervened Photography and Photo Embroidery
Workshops:
• Interventions in Photography with Belén Vilanova
• Photoembroidery: intervening printed photographs with Mayra Biajante
Conferences:
• Fotografía Intervenida con Nieves Mingueza, Belén Vilanova y Luis Estopiñán
• Fotografía y danza: hibridismo y experimentación con Ana Mundim
October 26
Pinhole, Solarigraphy and Analemma
Workshops: Basic and Unexplored Pinhole Experimentation Workshop with Justin Quinnell
Conferences:
• Solarigraphy and Beyond with Kasia Kozinsca and Maciej Zapiór
• SolariSwap: Atravesando fronteras | Crossing borders con Kümei Kirschmann, JB Cunillera, Pilu Ann Alógica, Guillermo Álvarez and Solar Crossworlds (Jeff McConnell and Diana Pankova)
• Pinhole Revolution with Justin Quinnell, Dianne Bos and Jeff McConnell
• The Variety of the Pinhole Experience with Edward Levinson, Justin Quinnell, and Stéphanie Probst
October 28| LIVE | ONLINE| 5-7PM (Spain)
Ágora Monthly Community Meeting
November 2
Experimental Polaroid
Workshop: Polarexp. Polaroid experimentales, transfer lift y doble exposición with Gal Wachs
Conference: Instant Photography with Felicita Russo and Erin Delsigne
November 9
Anthotype and Chlorophyll Printing
Workshop: Vegetal Techniques: Anthotype and Chlorotype with Célica Véliz
Conferences:
• Antotipia y revelado en clorofila con Valeria Elide y Kimberly Hallyburton
• Fotografía botánica: Brotes de la retentiva y proyecto Rumiantes con Paula Dornan y Manuel Limay
Webinar: Ecology-Inspired Photography: Fusing Historical Techniques with a Contemporary Vision! with Almudena Romero and Edd Carr
November 16
Lumen Prints and Alchemography
Workshops: Lumen Prints. Using Digital Screens to Print Analogue Photos with Andrey Piletsky
Conferences:
• Alchemography with Alexandros Kantoros
NOVEMBER 18|LIVE | ONLINE | 5-7PM (Spain)
Closing of Ágora Meeting
Presentations of student work, viewing of references and dynamics with questions
More details
Designed for: Those people who want to continue their path in experimental photography.
Admission Requirements: It is recommended to have completed the Exploring course.
Goals:
• Explore and expand knowledge and practice in experimental photography. • Encourage creativity and experimentation based on a thorough understanding of certain experimental, creative, and alternative techniques. • Deepen techniques through workshops, conferences, and interaction with recognized artists.
Price: 125 euros.
Duration:
42 hours of classes. Each student manages their own time. The meetings have scheduled times, but it is not mandatory to participate live; students can watch the recorded videos later.
Approximate time dedicated weekly: 3-5 hours.
Modality: Pre-recorded online with 3 live meetings
Language: English with videos in Spanish and subtitles in English.
Starting Date: October 7, 2026.
What’s included:
• Unlimited lifetime access to all content from live and pre-recorded classes (workshops, lectures, and downloadable additional materials). • Be a member of the Ágora Community: participate for free in our monthly Online Meetings and showcase your work on our social media platforms. • Access the exclusive Ágora Community WhatsApp group with special discounts, direct contact with the instructors and the Ágora team, monthly updates, and exclusive content.
Required Materials:
In each class, the necessary materials are explained. The materials you need will be explained in each class. We recommend watching the class first and then deciding what materials you want to buy. With this link, you can see where to buy the materials in many cities around the world.
ONLINE | PRE-RECORDED | BIMONTHLY
HISTORIES, THEORIES AND DEBATES ON EXPERIMENTAL PHOTOGRAPHY:
FROM ORIGINS TO HISTORICAL AVANT-GARDES
HISTORIES, THEORIES AND DEBATES ON EXPERIMENTAL PHOTOGRAPHY:
FROM ORIGINS TO HISTORICAL AVANT-GARDES
PHOTOGRAPHY WAS BORN AS A TESTING GROUND. SCIENTISTS, INVENTORS, CRAFTSPEOPLE, AND ARTISTS INVESTIGATED SENSITIVE MATERIALS, CAMERAS, CHEMICALS, AND FORMS OF REPRESENTATION WITHOUT KNOWING EXACTLY WHAT RESULTS THEY WOULD OBTAIN.
THIS COURSE TRACES THAT HISTORY FROM THE FIRST EXPERIMENTS OF THE 19TH CENTURY TO KODAK, PICTORIALISM, THE HISTORICAL AVANT-GARDES, THE BAUHAUS, CONSTRUCTIVISM, CRITICAL THEORY, ABSTRACTION AND CONCEPTUAL ART.
HISTORIES, THEORIES AND DEBATES ON EXPERIMENTAL PHOTOGRAPHY:
FROM ORIGINS TO HISTORICAL AVANT-GARDES
ORIGINS OF PHOTOGRAPHY
SCIENCE AND EXPERIMENTATION
HISTORICAL AVANT-GARDES
BAUHAUS
CONSTRUCTIVISM
CRITICAL THEORY
ABSTRACTION
CONCEPTUAL ART
PHOTOGRAPHIC THINKING
ANALOG AND DIGITAL PHOTOGRAPHY
EXPANDED PHOTOGRAPHY
POST-PHOTOGRAPHY
CONTEMPORARY DEBATES
ORIGINS OF PHOTOGRAPHY
SCIENCE AND EXPERIMENTATION
HISTORICAL AVANT-GARDES
BAUHAUS
CONSTRUCTIVISM
CRITICAL THEORY
ABSTRACTION
CONCEPTUAL ART
PHOTOGRAPHIC THINKING
ANALOG AND DIGITAL PHOTOGRAPHY
EXPANDED PHOTOGRAPHY
POST-PHOTOGRAPHY
CONTEMPORARY DEBATES
HISTORIES, THEORIES AND DEBATES ON EXPERIMENTAL PHOTOGRAPHY:
FROM ORIGINS TO HISTORICAL AVANT-GARDES
ORIGINS OF PHOTOGRAPHY
SCIENCE AND EXPERIMENTATION
HISTORICAL AVANT-GARDES
BAUHAUS
CONSTRUCTIVISM
CRITICAL THEORY
ABSTRACTION
CONCEPTUAL ART
PHOTOGRAPHIC THINKING
ANALOG AND DIGITAL PHOTOGRAPHY
EXPANDED PHOTOGRAPHY
POST-PHOTOGRAPHY
CONTEMPORARY DEBATES
HISTORIES, THEORIES AND DEBATES ON EXPERIMENTAL PHOTOGRAPHY:
FROM ORIGINS TO HISTORICAL AVANT-GARDES
ORIGINS OF PHOTOGRAPHY
SCIENCE AND EXPERIMENTATION
HISTORICAL AVANT-GARDES
BAUHAUS
CONSTRUCTIVISM
CRITICAL THEORY
ABSTRACTION
CONCEPTUAL ART
PHOTOGRAPHIC THINKING
ANALOG AND DIGITAL PHOTOGRAPHY
EXPANDED PHOTOGRAPHY
POST-PHOTOGRAPHY
CONTEMPORARY DEBATES
COURSE CALENDAR
THE COURSE IS OFFERED FOUR TIMES DURING THE ACADEMIC YEAR. EACH EDITION FOLLOWS THE SAME PEDAGOGICAL APPROACH AND COMBINES PRE-RECORDED CLASSES WITH LIVE SESSIONS. THE RECORDED CLASSES CAN BE VIEWED AT YOUR OWN PACE AND REMAIN AVAILABLE WITH UNLIMITED ACCESS.
LIVE MEETING SCHEDULES:
WEDNESDAYS FROM 5:00 PM TO 7:00 PM (SPAIN TIME) IN ENGLISH
WEDNESDAY 7:00 PM TO 9:00 PM (SPAIN TIME) IN SPANISH
CHOOSE THE EDITION THAT BEST SUITS YOUR CALENDAR.
07/10
A CLASS DEDICATED TO BUILDING AN OPEN AND CRITICAL DEFINITION OF EXPERIMENTAL PHOTOGRAPHY. RATHER THAN SIMPLY USING UNCONVENTIONAL TECHNIQUES, EXPERIMENTAL PHOTOGRAPHY QUESTIONS THE NORMS OF THE MEDIUM, INVESTIGATES ITS MATERIALS, AND UNCOVERS NEW CREATIVE POSSIBILITIES. IN THIS SESSION WE WILL EXPLORE: THE RELATIONSHIPS AND DIFFERENCES BETWEEN EXPERIMENTAL, CREATIVE, ALTERNATIVE, HISTORICAL, AND CONTEMPORARY PHOTOGRAPHY. THE EXPERIMENTAL ATTITUDE AS A PRACTICE OF RESEARCH, NONCONFORMITY, AND THE PURSUIT OF KNOWLEDGE. INDUSTRIAL PHOTOGRAPHY VERSUS EXPERIMENTAL PHOTOGRAPHY: STANDARDIZATION CONTRASTED WITH THE DIVERSITY OF PROCESSES AND PERSPECTIVES. THE ROLE OF ERROR, CHANCE, REPETITION, MANIPULATION, AND INTERDISCIPLINARITY IN IMAGE-MAKING. KEY MOMENTS IN THE HISTORY OF PHOTOGRAPHIC EXPERIMENTATION. THE CREATIVE PROCESS AS A SPACE FOR DISCOVERY, BEYOND THE FINAL OUTCOME.
12/10
A CLASS DEDICATED TO BUILDING AN OPEN AND CRITICAL DEFINITION OF EXPERIMENTAL PHOTOGRAPHY. RATHER THAN SIMPLY USING UNCONVENTIONAL TECHNIQUES, EXPERIMENTAL PHOTOGRAPHY QUESTIONS THE NORMS OF THE MEDIUM, INVESTIGATES ITS MATERIALS, AND UNCOVERS NEW CREATIVE POSSIBILITIES. IN THIS SESSION WE WILL EXPLORE: THE RELATIONSHIPS AND DIFFERENCES BETWEEN EXPERIMENTAL, CREATIVE, ALTERNATIVE, HISTORICAL, AND CONTEMPORARY PHOTOGRAPHY. THE EXPERIMENTAL ATTITUDE AS A PRACTICE OF RESEARCH, NONCONFORMITY, AND THE PURSUIT OF KNOWLEDGE. INDUSTRIAL PHOTOGRAPHY VERSUS EXPERIMENTAL PHOTOGRAPHY: STANDARDIZATION CONTRASTED WITH THE DIVERSITY OF PROCESSES AND PERSPECTIVES. THE ROLE OF ERROR, CHANCE, REPETITION, MANIPULATION, AND INTERDISCIPLINARITY IN IMAGE-MAKING. KEY MOMENTS IN THE HISTORY OF PHOTOGRAPHIC EXPERIMENTATION. THE CREATIVE PROCESS AS A SPACE FOR DISCOVERY, BEYOND THE FINAL OUTCOME.
19/10
A CLASS DEDICATED TO BUILDING AN OPEN AND CRITICAL DEFINITION OF EXPERIMENTAL PHOTOGRAPHY. RATHER THAN SIMPLY USING UNCONVENTIONAL TECHNIQUES, EXPERIMENTAL PHOTOGRAPHY QUESTIONS THE NORMS OF THE MEDIUM, INVESTIGATES ITS MATERIALS, AND UNCOVERS NEW CREATIVE POSSIBILITIES. IN THIS SESSION WE WILL EXPLORE: THE RELATIONSHIPS AND DIFFERENCES BETWEEN EXPERIMENTAL, CREATIVE, ALTERNATIVE, HISTORICAL, AND CONTEMPORARY PHOTOGRAPHY. THE EXPERIMENTAL ATTITUDE AS A PRACTICE OF RESEARCH, NONCONFORMITY, AND THE PURSUIT OF KNOWLEDGE. INDUSTRIAL PHOTOGRAPHY VERSUS EXPERIMENTAL PHOTOGRAPHY: STANDARDIZATION CONTRASTED WITH THE DIVERSITY OF PROCESSES AND PERSPECTIVES. THE ROLE OF ERROR, CHANCE, REPETITION, MANIPULATION, AND INTERDISCIPLINARITY IN IMAGE-MAKING. KEY MOMENTS IN THE HISTORY OF PHOTOGRAPHIC EXPERIMENTATION. THE CREATIVE PROCESS AS A SPACE FOR DISCOVERY, BEYOND THE FINAL OUTCOME.
26/10
PHOTOGRAPHY ENTERS A PERIOD OF RUPTURE. MOVEMENT, CHANCE, COLLAGE, PHOTOMONTAGE, AND CAMERALESS IMAGES BECOME TOOLS FOR QUESTIONING TRADITIONAL REPRESENTATION AND RESPONDING TO THE POLITICAL AND SOCIAL TRANSFORMATIONS OF THE TIME. FUTURIST PHOTODYNAMISM AND THE REPRESENTATION OF MOVEMENT, TIME, AND SPEED. DADAISM AND THE USE OF COLLAGE, PHOTOMONTAGE, APPROPRIATION, AND ABSURDITY. THE RELATIONSHIP BETWEEN IMAGE, PROPAGANDA, REVOLUTION, THE PRESS, AND MASS CULTURE. SURREALISM, AUTOMATISM, CHANCE, AND THE EXPLORATION OF THE UNCONSCIOUS. RAYOGRAPHS, SOLARIZATION, AND THE EXPERIMENTAL RESEARCH OF MAN RAY. THE CONTRIBUTIONS OF HANNAH HÖCH, CLAUDE CAHUN, DORA MAAR, AND OTHER WOMEN ARTISTS OF THE AVANT-GARDES. THE SHIFT FROM FORMAL EXPERIMENTATION TOWARDS POLITICAL, DOCUMENTARY, AND SOCIAL PHOTOGRAPHY DURING THE 1930S.
02/11
NEW SOCIETIES DEMANDED NEW IMAGES. THIS CLASS EXPLORES HOW RUSSIAN CONSTRUCTIVISM AND CRITICAL THEORY UNDERSTOOD PHOTOGRAPHY AS A POLITICAL TOOL, A MEANS OF REPRODUCTION, AND A WAY OF INTERVENING IN COLLECTIVE LIFE. THE RUSSIAN REVOLUTION AND THE EMERGENCE OF AN ART CONNECTED TO SOCIAL TRANSFORMATION. CONSTRUCTIVISM AND THE INTEGRATION OF PHOTOGRAPHY, DESIGN, ARCHITECTURE, AND PROPAGANDA. ALEKSANDR RODCHENKO AND THE SEARCH FOR NEW POINTS OF VIEW FOR A NEW SOCIETY. EL LISSITZKY, PHOTOMONTAGE, AND POLITICAL COMMUNICATION. WALTER BENJAMIN AND THE TRANSFORMATION OF THE WORK OF ART THROUGH MECHANICAL REPRODUCTION. THE DEBATE AROUND AURA, ORIGINAL, COPY, CULTURAL INDUSTRY, AND COLLECTIVE EXPERIENCE. THE FRANKFURT SCHOOL AND THE CRITIQUE OF MASS MEDIA. PHOTOGRAPHY AS A TOOL FOR EMANCIPATION, PERSUASION, SURVEILLANCE, OR CONTROL.
09/11
WHAT HAPPENS WHEN PHOTOGRAPHY STOPS REPRESENTING THE WORLD AND BEGINS TO ANALYZE ITSELF? THIS CLASS EXPLORES DIFFERENT MOVEMENTS THAT USED LIGHT, MATERIALS, SEQUENCE, THE BODY, AND THE PHOTOGRAPHIC APPARATUS ITSELF AS SUBJECTS OF INVESTIGATION. PHOTOGRAPHIC ABSTRACTION AND THE QUESTIONING OF REALISM AND THE SUPPOSED TRUTH OF THE IMAGE. VORTICISM, SUBJECTIVE PHOTOGRAPHY, CONCRETE PHOTOGRAPHY, AND GENERATIVE PHOTOGRAPHY. THE INFLUENCE OF THE BAUHAUS, CONSTRUCTIVISM, AND EXPRESSIONISM ON POSTWAR PHOTOGRAPHY. THE CAMERA, NEGATIVE, PAPER, LIGHT, AND CHEMISTRY AS SUBJECTS WITHIN THE WORK ITSELF. CONCEPTUALISM AND THE USE OF PHOTOGRAPHY AS DOCUMENT, INSTRUCTION, ARCHIVE, OR SERIES. THE ROLE OF PERFORMANCE, THE BODY, AND HAPPENINGS IN THE PRACTICES OF THE 1960S AND 1970S. THE EMERGENCE OF PHOTOGRAPHY IN MUSEUMS, GALLERIES, AND THE CONTEMPORARY ART MARKET. THE TENSION BETWEEN FINE ART PHOTOGRAPHY, EXPERIMENTAL PHOTOGRAPHY, AND ART MADE THROUGH PHOTOGRAPHIC MEDIA.
16/11
WHAT HAPPENS WHEN PHOTOGRAPHY STOPS REPRESENTING THE WORLD AND BEGINS TO ANALYZE ITSELF? THIS CLASS EXPLORES DIFFERENT MOVEMENTS THAT USED LIGHT, MATERIALS, SEQUENCE, THE BODY, AND THE PHOTOGRAPHIC APPARATUS ITSELF AS SUBJECTS OF INVESTIGATION. PHOTOGRAPHIC ABSTRACTION AND THE QUESTIONING OF REALISM AND THE SUPPOSED TRUTH OF THE IMAGE. VORTICISM, SUBJECTIVE PHOTOGRAPHY, CONCRETE PHOTOGRAPHY, AND GENERATIVE PHOTOGRAPHY. THE INFLUENCE OF THE BAUHAUS, CONSTRUCTIVISM, AND EXPRESSIONISM ON POSTWAR PHOTOGRAPHY. THE CAMERA, NEGATIVE, PAPER, LIGHT, AND CHEMISTRY AS SUBJECTS WITHIN THE WORK ITSELF. CONCEPTUALISM AND THE USE OF PHOTOGRAPHY AS DOCUMENT, INSTRUCTION, ARCHIVE, OR SERIES. THE ROLE OF PERFORMANCE, THE BODY, AND HAPPENINGS IN THE PRACTICES OF THE 1960S AND 1970S. THE EMERGENCE OF PHOTOGRAPHY IN MUSEUMS, GALLERIES, AND THE CONTEMPORARY ART MARKET. THE TENSION BETWEEN FINE ART PHOTOGRAPHY, EXPERIMENTAL PHOTOGRAPHY, AND ART MADE THROUGH PHOTOGRAPHIC MEDIA.
18/11
STUDENT WORK PRESENTATIONS, VIEWING OF REFERENCE MATERIALS, AND INTERACTIVE ACTIVITIES WITH QUESTIONS
MORE DETAILS
ADDRESSED TO
PHOTOGRAPHERS, ARTISTS, RESEARCHERS AND PEOPLE INTERESTED IN DELVING DEEPER INTO THE HISTORY, THEORIES AND DEBATES OF EXPERIMENTAL PHOTOGRAPHY.
REQUIREMENTS
NO PRIOR THEORETICAL, HISTORICAL, OR PHOTOGRAPHIC KNOWLEDGE IS REQUIRED.
12 HOURS IN DURATION
NO PRIOR THEORETICAL, HISTORICAL, OR PHOTOGRAPHIC KNOWLEDGE IS REQUIRED.
LANGUAGE
SPANISH AND ENGLISH
APPROXIMATE WEEKLY TIME COMMITMENT:
5 HOURS, EACH STUDENT MANAGES THEIR OWN TIME.
APPROXIMATE WEEKLY TIME COMMITMENT:
5 HOURS, EACH STUDENT MANAGES THEIR OWN TIME.
APPROXIMATE WEEKLY TIME COMMITMENT:
5 HOURS, EACH STUDENT MANAGES THEIR OWN TIME.
WHAT'S INCLUDED
OF THE LIVE AND PRE-RECORDED CLASSES, WORKSHOPS, CONFERENCES AND ADDITIONAL DOWNLOADABLE MATERIALS.