ONLINE | PRE-RECORDED | BIMONTHLY
CAMERALESS PHOTOGRAPHY:
FROM SUNLIGHT TO SECURITY LIGHT
WITH BRIDGET CONN
IN THIS COURSE WE WILL EXPLORE DIFFERENT TECHNIQUES FOR CREATING PHOTOGRAPHIC IMAGES WITHOUT A CAMERA, WORKING IN DIFFERENT SPACES AND LIGHTING CONDITIONS.
WE WILL GO BEYOND THE BASIC PRINCIPLES OF EACH PROCESS TO DISCOVER ITS EXPERIMENTAL POSSIBILITIES THROUGH SOLARIZATION, DRAWING, ORGANIC SUBSTANCES, THE BODY AS A CREATIVE TOOL, AND EVEN MOONLIGHT.
EACH TECHNIQUE WILL ALLOW US TO INVESTIGATE THE RELATIONSHIP BETWEEN LIGHT, CHEMISTRY, MATERIALITY, GESTURE, CHANCE, AND TIME. ALONG WITH PRACTICAL DEMONSTRATIONS AND TECHNICAL GUIDANCE, WE WILL EXPLORE THE HISTORY OF CAMERALESS PHOTOGRAPHY AND THE ARTISTS WHO HAVE EXPANDED ITS POSSIBILITIES. BY COMBINING TECHNIQUES AND APPROACHES, EACH PARTICIPANT WILL BE ENCOURAGED TO DEVELOP THEIR OWN VISUAL LANGUAGE AND CREATE A SMALL EXPERIMENTAL PHOTOGRAPHIC PROJECT.
TECHNIQUES
LUMEN CYANOLUMEN PRINT
CHEMOGRAM
PHOTOGRAM ON SILVER GELATIN PAPER
CLICHÉ-VERRE
CONTENT
7 SESSIONS
4 PRE-RECORDED WORKSHOPS
3 LIVE MEETINGS
1. CHAT FOR SHARING MATERIAL AND ANSWERING QUESTIONS
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€150
2 MONTHS
PRE-RECORDED
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.
PRESENTATION MEETING OF THE AGORA EXPERIMENTAL PHOTOGRAPHY:
CONCEPTS, DEBATES AND TECHNIQUES WITH PABLO GIORI
LEARN TO USE THE SUN TO CREATE LUMEN PRINTS FROM A VARIETY OF OBJECTS AND MATERIALS, AND EXPLORE THE RANGE OF SUBSTANCES THAT INTERACT WITH SILVER GELATIN PAPER. LUMENS WITH PLANTS, NON-ORGANIC OBJECTS, NEGATIVES/DRAWINGS ON MYLAR, AND USING ONLY SUNLIGHT; CYANOLUMENS; MAKING TEST STRIPS TO EXPLORE DIFFERENT TYPES OF PAPER AND ADDITIVES; PARTIAL FIXING; DOCUMENTATION AND PROCESSING OF ARTWORK FILES IF A DIGITAL EDITION IS CREATED FROM AN ORIGINAL; OPTIONAL EXPERIMENTS WITH PAPER DEVELOPER AND DARKROOM WORK TO EXPAND THE TONAL RANGE. SILVER GELATIN PHOTOGRAPHIC PAPER, NEW, EXPIRED OR EXPOSED, IN AS MANY TYPES AS POSSIBLE; CONTACT PRINTING FRAME OR GLASS PLATES; PAPER FIXER; PROCESSING TRAYS; MYLAR; ACRYLIC PAINT; HOUSEHOLD CHEMICALS SUCH AS VINEGAR, COFFEE, DISHWASHING SOAP, ETC.; CYANOTYPE CHEMISTRY; OPTIONAL PAPER DEVELOPER IF A DARKROOM WITH A SAFELIGHT IS ALSO AVAILABLE; OPTIONAL DIGITAL SLR CAMERA OR SCANNER AND PHOTO-EDITING SOFTWARE IF A DIGITAL EDITION IS CREATED. DEMONSTRATIONS OF THE PROCESSES DESCRIBED ABOVE. RACHELLE BUSSIÈRES, TIINA KIRIK, GALINA KURLAT, JERRY BURCHFIELD, CHRISTINA Z. ANDERSON, VANESSA MARSH, MARY THOMAS, MOIRA MCDONALD, SHAINA GATES.
MONTHLY MEETING AGORA COMMUNITY
BEGIN WITH THE FUNDAMENTALS OF THE CHEMIGRAM TO STANDARDIZE THE PROCESSING STEPS AND EXPLORE THE MANY VARIABLES INVOLVED IN PREDICTING AND ACHIEVING DIFFERENT COLORS, TEXTURES, SHAPES, AND LINES. BASIC CHEMIGRAM PROCESSING; CHANGES IN RESULTS BETWEEN SUNLIGHT AND ARTIFICIAL LIGHT; MODIFICATION OF CHEMICAL PROPORTIONS TO ACHIEVE DIFFERENT COLOR RESULTS; CHOOSING THE RIGHT PAPER TO OBTAIN DIFFERENT COLOR AND TEXTURE RESULTS; CHEMICAL PAINTING, WITHOUT RESERVES; USE OF PRINTMAKING AND STAMPING TECHNIQUES WITH RESERVES; CHEMILUMENS. SILVER GELATIN PHOTOGRAPHIC PAPER, NEW, EXPIRED OR EXPOSED, IN AS MANY TYPES AS POSSIBLE; PAPER DEVELOPER; PAPER FIXER; OPTIONAL PAPER WASH AID; PROCESSING TRAYS; RESERVES, WHICH CAN BE MADE FROM HOUSEHOLD MATERIALS; OPTIONAL PRINTMAKING AND STAMPING MATERIALS, SUCH AS LINOLEUM OR WOOD BLOCKS, SCREEN-PRINTING SCREENS, STENCILS, AND STAMPS. DEMONSTRATIONS OF THE TECHNIQUES MENTIONED ABOVE. PIERRE CORDIER, DOUGLAS COLLINS, NOLAN PREECE, MARIAH ROBERTSON, ALLISON ROSSITER, CHUCK KELTON, KEI ITO, IRINA CHERNIKOVA, THOMAS CONDON, PAULA PINK.
WORK UNDER SAFELIGHT TO EXPLORE THE POSSIBILITIES OF THE PHOTOGRAM USING DIFFERENT LIGHT SOURCES, DIRECTIONS, AND MOVEMENTS, AS WELL AS USING OUTDOOR ENVIRONMENTS AT NIGHT AS A DARKROOM. MOVING OBJECTS DURING EXPOSURE; EXPLORING ARTIFICIAL LIGHT SOURCES BEYOND THE ENLARGER; LOW-RELIEF PHOTOGRAMS; LUMINOGRAMS UNDER SAFELIGHT USING BODY MOVEMENTS; COLLABORATIVE PHOTOGRAMS WITH FIREFLIES; EXPOSING OBJECTS WITH MOONLIGHT; CREATING PAPER NEGATIVES; APPLYING SOLARIZATION TO CAPTURED IMAGES. UNEXPOSED, UNFOGGED SILVER GELATIN PHOTOGRAPHIC PAPER; ACCESS TO A TRADITIONAL DARKROOM WITH AN ENLARGER; PAPER DEVELOPER; STOP BATH OR WATER; PAPER FIXER; OPTIONAL PAPER WASH AID; PROCESSING TRAYS; SMALL FLASHLIGHT OR EXPERIMENTAL LOW-INTENSITY LIGHT SOURCES; OPTIONAL ORGANIC LIGHT-EMITTING MATERIALS, SUCH AS FIREFLIES, GLOW WORMS, ETC.; OPTIONAL OUTDOOR NIGHTTIME ENVIRONMENT WITH A RED HEADLAMP. DEMONSTRATIONS OF THE TECHNIQUES INDICATED ABOVE. LÁSZLÓ MOHOLY-NAGY, MAN RAY, FLORIS NEUSÜSS, SUSAN DERGES, ADAM FUSS, JOAN FONTCUBERTA, LIZ DESCHENES, MIKE JACKSON, MICHAEL FLOMEN, ELLEN CAREY, LIZ LIGUORI.
TRADITIONAL CLICHÉ-VERRE TECHNIQUE WITH AN EXPANSION INTO RELATED PROCESSES INVOLVING THE MANIPULATION OF GLASS, FILM, OR PAPER SURFACES. CLICHÉ-VERRE WITH EXPERIMENTAL MARK-MAKING; CHEMICALS AND SUBSTANCES APPLIED TO GLASS; INTRODUCTION OF PHYSICAL MATERIALS AND DRAWING TECHNIQUES ON BOTH PROCESSED AND UNPROCESSED NEGATIVE FILM; USING OBJECTS INSTEAD OF FILM IN THE NEGATIVE CARRIER; MANIPULATING PAPER ON THE ENLARGER EASEL; APPLICATION OF THE CHROMOSKEDASIC SABATTIER PROCESS TO CAPTURED IMAGES. UNEXPOSED, UNFOGGED SILVER GELATIN PHOTOGRAPHIC PAPER; ACCESS TO A TRADITIONAL DARKROOM WITH AN ENLARGER; PAPER DEVELOPER; STOP BATH OR WATER; PAPER FIXER; OPTIONAL PAPER WASH AID; PROCESSING TRAYS; AT LEAST ONE PIECE OF GLASS THE SAME SIZE AS OR LARGER THAN THE PHOTOGRAPHIC PAPER; ONE ROLL OF UNUSED FILM OR SPARE UNDEVELOPED NEGATIVES TO DISPLAY AN IMAGE; CHROMO CHEMISTRY, ACTIVATOR, AND STABILIZER; FOAM BRUSHES. DEMONSTRATIONS OF THE TECHNIQUES INDICATED ABOVE. JEAN-BAPTISTE-CAMILLE COROT, FRANTIŠEK POVOLNÝ, DANIEL HOJNACKI, JOYCE CAMPBELL, LARA TABET, BĚLA KOLÁŘOVÁ, BRONISŁAW SCHLABS, EVA NIKOLOVA, JAMES BAROZ, FRANK LOPEZ.
STUDENT WORK PRESENTATIONS, VIEWING OF REFERENCE MATERIALS, AND INTERACTIVE ACTIVITIES WITH QUESTIONS
YOUR TEACHER
BRIDGET CONN
DIRECTOR OF THE EXPERIMENTAL PHOTO KITCHEN, NASHVILLE, INDIANA, UNITED STATES. DEGREE IN FINE ARTS, MAJOR IN PHOTOGRAPHY: TULANE UNIVERSITY, NEW ORLEANS, LOUISIANA, USA.
MASTER OF FINE ARTS, MAJOR IN PHOTOGRAPHY: UNIVERSITY OF GEORGIA, ATHENS, GEORGIA, USA
BRIDGET WAS AN ASSOCIATE PROFESSOR OF ART AND PHOTOGRAPHY AT GEORGIA SOUTHERN UNIVERSITY IN SAVANNAH, GEORGIA, WHERE SHE DEVELOPED A PHOTOGRAPHY PROGRAM BETWEEN 2016 AND 2023 THAT INCLUDED EXPERIMENTAL PROPOSALS. IN ADDITION TO TEACHING PHOTOGRAPHY AT VARIOUS UNIVERSITIES AND EDUCATIONAL CENTERS, IN 2012 SHE FOUNDED THE ASHEVILLE DARKROOM IN ASHEVILLE, NORTH CAROLINA, AS A NON-PROFIT ORGANIZATION, AND WAS ITS MAIN TEACHER BETWEEN 2012 AND 2016.
HE HAS TAUGHT PHOTOGRAPHY WORKSHOPS AT AURORA PHOTO CENTER IN INDIANAPOLIS, INDIANA; PENLAND SCHOOL OF CRAFT IN PENLAND, NORTH CAROLINA; THE HALIDE PROJECT IN PHILADELPHIA, PENNSYLVANIA; THE LIGHT FACTORY IN CHARLOTTE, NORTH CAROLINA; AND ONLINE FOR ATLANTA PHOTOGRAPHY GROUP IN ATLANTA, GEORGIA, AND PENUMBRA FOUNDATION IN NEW YORK. IN THE EXPERIMENTAL PHOTO FESTIVAL OF 2022, 2023 AND 2025, HE HAS PARTICIPATED AS A
TEACHER AND ARTIST WITH A SOLO EXHIBITION. SHE WILL LEAD HORIZONTAL PORTFOLIO REVIEWS IN 2027. SHE IS CURRENTLY THE DIRECTOR OF THE EXPERIMENTAL PHOTO KITCHEN, AN EXPANDING PHOTOGRAPHY WORKSHOP SPACE LOCATED ON HER PROPERTY IN SOUTH INDIANA. FROM THERE, SHE SEEKS TO CONNECT EXPERIMENTAL PHOTOGRAPHIC PROCESSES WITH THE REGION'S LANDSCAPE AND TERRITORY.
MORE DETAILS
ADDRESSED TO
THIS COURSE IS FOR PEOPLE WITH BASIC KNOWLEDGE OF ANALOG PHOTOGRAPHY WHO WANT TO DELVE DEEPER INTO DARKROOM AND EXPERIMENTAL DEVELOPING PROCESSES. NO PRIOR DARKROOM EXPERIENCE IS NECESSARY.
REQUIREMENTS
BASIC KNOWLEDGE OF ANALOG PHOTOGRAPHY.
GOALS
LET THE LABORATORY CEASE TO BE A PLACE OF TECHNICAL REPRODUCTION AND BECOME A SPACE FOR VISUAL RESEARCH. LET EVERY CHEMICAL DECISION ALSO BE A CREATIVE DECISION.
12 HOURS IN DURATION
APPROXIMATE WEEKLY TIME COMMITMENT:
3-5 HOURS, EACH STUDENT MANAGES THEIR OWN TIME.
MODE
PRE-RECORDED ONLINE WITH 3 LIVE MEETINGS.
LANGUAGE
SPANISH
WHAT'S INCLUDED
UNLIMITED LIFETIME ACCESS TO ALL CONTENT
OF THE LIVE AND PRE-RECORDED CLASSES, WORKSHOPS, CONFERENCES AND ADDITIONAL DOWNLOADABLE MATERIALS.
BEING A MEMBER OF THE AGORA COMMUNITY
PARTICIPATE FOR FREE IN OUR MONTHLY ONLINE MEETINGS
(OCTOBER 19, FEBRUARY 24 AND APRIL 28) AND SHOW YOUR WORK ON OUR SOCIAL NETWORKS.
ACCESS THE EXCLUSIVE AGORA COMMUNITY GROUP ON WHATSAPP
WITH EXCLUSIVE DISCOUNTS, DIRECT ACCESS TO TEACHERS AND THE AGORA TEAM, MONTHLY INFORMATION, AND SPECIAL CONTENT.
MATERIALS NEEDED
EACH LESSON EXPLAINS THE NECESSARY MATERIALS. WE RECOMMEND WATCHING THE LESSON FIRST AND THEN DECIDING WHICH MATERIALS YOU WANT TO BUY. YOU CAN ALSO CONSULT OUR MATERIALS GUIDE WITH PURCHASING INFORMATION FOR DIFFERENT CITIES AROUND THE WORLD.
HOW ARE THESE COURSES MANAGED?
THE ECONOMIC AND ADMINISTRATIVE MANAGEMENT OF THE AGORA IS HANDLED BY THE NON-PROFIT ASSOCIATION EXPERIMENTAL PHOTO FESTIVAL. ALL COURSES INCLUDE 21% VAT IN THE PRICE. DURING THE PAYMENT PROCESS, A PASSPORT NUMBER, NIE, NIF, OR CIF WILL BE REQUESTED SOLELY FOR ACCOUNTING AND TAX PURPOSES. FOR MORE INFORMATION, PLEASE CONSULT OUR FINANCIAL TRANSPARENCY PAGE.