SCULLY & OSTERMAN 2010 Workshops and Lectures:

Wet-Plate Collodion, Albumen Printing & Other Early Photographic Processes

 

- Rochester, New York - London, England - Pittsburgh, Pennsylvania - Santa Fe, New Mexico - Lacock Abbey, England - Austin, Texas -




Albumen Printing Workshop

with France Scully Osterman

ONE SPOT LEFT!!


This class will begin by examining "What kind of negative makes a good albumen print?" and "What should a good albumen print look like?" Next the class will discuss formulas to use and how to tweek them to achieve the color and contrast desired.

The class will be guided through the entire process, from make the albumen solution, (cracking eggs) to floating paper, making solutions, and making the final print (including gold-toning).


July 10 & 11, 2010 (Sat, Sun)
F295 Studio, Pittsburgh, PA

Time: 9 am to 5 pm
(with break for lunch)

Cost: $350 (+ Lab Fee )*
Class is limited to six participants.

To pre-register for this class click here


Coated paper drying in studio


* lab fee is for disposables and chemicals (at cost)



albumen print and collodion negative

 

Participants will have the opportunity to make as many prints as time allows and may bring their own negatives with prior approval from the instructor for use and/or discussion.

Negatives will also be provided to make albumen prints.


floating paper on albumen solution






Three Places Left in this Amazing Workshop!

 

1839: The Processes of Daguerre, Talbot and Bayard

 

with Mark Osterman,
Photographic Process Historian

July 19-21 2010

at George Eastman House International Museum of Photography & Film, in Rochester, New York


 
Participants will make a daguerreotype as it was originally introduced and see the earlier silver plate technique that lead to Daguerre's process. They will also make Talbot formula photogenic drawings and Bayard's direct positive paper process.

Other activities include making a ribbon tied folio for their prints and viewing a rare copy of the Pencil of Nature, actual 1840 daguerreotypes, drawings by Daguerre, an original 1839 Giroux camera [and processing equipment] and the Bemis camera outfit [first camera known to be sold in the US] plus original literature.
 
The main emphasis of this workshop is to compare the three processes side by side; history, aesthetics and process that can't be found anywhere else.

Participants also receive copies of original literature from the era including Daguerre's manual [English version] Talbot's Some Account of the Art of Photogenic Drawing and original Bayard references.

~ The Dawn of Photography Workshop at Lacock Abbey is full, but those interested may be included on the wait list in case of an opening and put on the top of the list for the next one. ~
 
Those with specific technical questions please contact Mark Osterman directly.  For registration and more information about this and other workshops at Eastman House click here.

 

 



Daguerre: early silver plate technique




Talbot: photogenic drawing


Bayard: Direct Positive Process


above images © by Mark Osterman

 

 


July 25-30, 2010
Santa Fe Photographic Workshops,
in Santa Fe, NM


Wet-Plate Collodion: Back to the Future
Positives, Negatives & Photograms;
in the darkroom and in the field


a five day workshop with
Jill Enfield & France Scully Osterman

there are a few spots left!!

 


Maam Trasna River (Ireland), 1996 © France Scully Osterman

The week will begin with studying and discussing examples of 19th-century and contemporary ambrotypes, tintypes, and negatives, and the types of prints participants may create during this workshop.

Jill and France will demonstrate mixing chemicals, how to use enlargers to make positives and photograms, and teach how to make and use a portable darkroom in any situation—from an empty box to a car trunk.


The class will then head off into the field with a variety of 19th-century and contemporary cameras, to make images in the beautiful surroundings of Santa Fe.

Jill will guide participants step-by-step through the process to make wet-plate positives (ambrotypes and tintypes), while France will focus on teaching how to make wet-plate negatives which will be scanned for digital printing.

In addition to creating several of your own unique plates during the week, you also gain a thorough knowledge of the collodion process and a clear understanding of how to incorporate this time-honored process in your own photography and art.

For more details and to register click here

   

 

Learn from your "teacher's teacher."
See partial list of students here and institutions list at bottom of page.

The Scully & Osterman Collodion workshop was one of the best I've ever attended. I now have a much better understanding of the process and a greater control of the negative.

Your depth of knowledge and academic experience provides a very insightful and unique learning experience. The facility enables the student to work side by side with the teacher, allowing the student to see, learn, and understand what is going on throughout the process.

Thank you for sharing your knowledge with us, and thank you for your impeccable hospitality.

Robert (Ohio), January 2010

 

 

images from Past S&O workshops:

Dan Estabrooke using Pantograph at F295 workshop

Emmet Gowin's self-portrait ambrotype
[photo by M.Teresa Simao]

ambrotype and tintypes made in Scully & Osterman Studio


Workshop full? Maybe you'd like to consider a private class....
Click here for more information, or email us
at sculloster(at)gmail.com to discuss your goals with this process.




Negatives above and salt print below by Melitte Buchman
Made in advanced class at S&O Studio



 


Dave's still life ambrotype, March workshop
at Scully & Osterman Studio, Rochester, NY






France varnishes plates at Princeton University in March 2009 with
Emmet Gowin, Anne McCauley and students [Photo by M.Teresa Simao]
 

 

The Ostermans have given demonstrations and workshops for (selected list):


Victoria and Albert Museum, London, England
Cornell University, Ithaca, NY
Princeton University, Princeton, NJ
Centro de Estudos em Fotografia da Golega, Golega, Portugal
F295 Symposium, Pittsburgh Filmmakers, Pittsburgh, PA
Harvard University, Cambridge, MA
Minnie Weisz Studio, London, UK
Staatliche Akademie der Bildenden Künste, Stuttgart, Germany
Fachhochschule für Technik und Wirtschaft, Berlin, Germany
Escuela Nacional de Conervación, Restauración y Museografia, Mexico City
Harry Ransom Center, U of Texas, Austin, TX
Alchemy Studios, Phoenix, AZ
Art Institute of Boston, Boston, MA
Amon Carter Museum, Ft. Worth, Texas
Tyler School of Art, Philadelphia, PA
Project Basho, Philadelphia, PA
Notre Dame University, South Bend, IN
New England School of Photography, Boston, MA
University of Missouri, Kansas City, MO
Tokushima University, Tokushima, Japan
George Eastman House, Rochester, NY
Maison Niepce, St. Loup de Varennes, France
Photographer's Formulary, Condon, Montana
Diputacion Provincial de Huesca, Huesca, Spain
Century Darkroom, Toronto, Canada
Nat'l Museum of American Art, Smithsonian Institution, Wash, DC
National Library of Ireland, Dublin, Ireland
Segura Publishing, Tempe, AZ
Baltimore and Ohio Railroad Museum, Baltimore, MD
Mercer Museum, Doylestown, Pennsylvania
Princeton Arts Council, Princeton, NJ
Eckley Miners Museum, Scranton, PA
Eastfield Village, Nassau, NY
Historic Richmondtown, Staten Island, NY
Fleetwood Museum, N. Plainfield, NY

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 



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